中华文明的艺术奇葩——民歌（下）

文/五花肉

中国民歌历史悠久，具有丰富的体裁和多样的风格，对于民族文化的交融和发展，起着不可忽视的推动作用。其中，自由奔放、曲调优美、琅琅上口的陕北民歌信天游，就是我国民歌体系中具有鲜明特点的曲种之一。

The Chinese folk songs have a long history and various genres and styles, which propels the integration and development of national culture.Xintianyou, Northern Shaanxi folk songs, which features free, bold rhythm and sonorous singing, is one of the distinctive folk tunes in national folk songs system.

信天游也叫顺天游，主要流传于陕北、宁夏等地，沟壑遍布的独特地貌和黄土高原的生活方式，赋予了信天游宽广、豪迈的音乐特质。

Xintianyou, literally "rambling in the sky," is also called Shuntianyou, which is very popular in the Northern Shaanxi Province and Ningxia Hui Autonomous Region. Widely distributed gullies and ravines, the lives and customs of the people living on the Loess Plateau endow Xintianyou with free and bold style.

黄土高原的声调标准 Tone Standard in Loess Plateau

在当地，人们劳作空隙时习惯站在黄土峁顶，大声地呼叫和对答。因为距离较远，为了彼此更清楚地交谈，他们会把声调喊得很高，声音拖得很长，在高低长短间形成了独特的韵律。以此为标准，峁顶之间的喊话逐渐演化为今天的信天游。

During the rest time of work, people in Loess Plateau used to stand on top of the loess hill and talk loudly to each other from a distance. In order to inform the other clearly, they have to talk in a high and long voice and therefore a free and sparse rhythm gradually takes shape. According to the standard, this conversation style in loess hills top later became known as Xintianyou.

双四度音程的旋律标准 Double Forth Intervals in Rhythm Standard

信天游的调式特征极为明显，拥有标准的“双四度音调结构”，以主音及其上方四度音和下方四度音为骨干音型，每个单乐段中，上句具有开放性，下句具有收拢性，四度上下跳进，在旋律的重要部位尤为突出。

Xintianyou has a double forth intervals structure.The key consists of tonic, its fourth above and fourth below. In every musical periods, a high tune in the first line of a song, which drops slowly in the second line. the forth leaps in up and down, especially the important part of the melody.

两句一节的填词标准 Two-phrase Form in Lyric Standard

与旋律相呼应，信天游的歌词也是上下句结构的两句体，填词以七言为主，多用叠字、重字和重词。受乐句限制，信天游的歌词多为两句一节、两句一韵，下一节可以换韵，亦可不换。这种独有的传统在信天游的长期发展中，始终被视为填词的正统标准，体现在绝大多数的信天游歌曲之中。

Corresponding with melody, the lyrics of Xintianyou is two-phrase form which is generally seven syllables per phrase; it applies reduplicated words, repetitive words and terms frequently. Due to phrase limit, the lyrics are mostly two phrases per section, two phrases one rhyme, it may change the rhyme in next section or not. This distinctive tradition is always regarded as an authentic lyric standard during the development of Xintianyou, and is embodied in the most of Xintianyou songs.

特定假声的演唱标准 Specific Falsetto in the Performance Standard

信天游的演唱方式比较自由，同一首歌，可以根据歌词的内容和演唱者的情绪，配以不同的曲调，唱出不同的感情，可长可短、可快可慢。由于信天游的大跳音程较多，音域宽广，很多段落必须借助假声完成。而且，假声出现的位置相对标准化，通常在拖腔之后的上方四度装饰音处，形成鲜明的前后对比，具有浓厚的陕北气息，这也是信天游区别于其他民歌的标志性特征。

The performance of Xintianyou is free-style.According to change of lyrics and moods, with different melodies, singer usually expresses different feelings. Due to lots of big jump intervals and a wide register, some sections are performed with the application of falsetto. It forms a standard concerning the position of falsetto, usually appear at the forth grace note after prolongation of intonation, then produces an obvious contrast, features rich northern Shaanxi culture. This is also a signature feature of Xintianyou differing from other folk songs.

结 语 Conclusion

千沟万壑、连绵起伏的陕北高原孕育了悠扬的信天游，这是一部用老镢镌刻在西北黄土高原上的传世巨著，是黄坡黄水之间的一朵奇葩。一曲高歌，响遏行云，扫去靡靡之音，催人向上。

The undulating northern Shanxi plateau with widely distributed gullies and ravines nurtured the melodious Xintianyou. It is a masterpiece engraved by an old hoe in the Loess Plateau; it is a wonder found between the Loess Plateau and Yellow River. Sonorous singing sweeps off the decadent melody and encourages us to make progress.