華語流行歌的唱腔節奏─以李宗盛與張雨生的歌曲為例

Abstract

「唱腔」一詞來自戲曲音樂，指的是人聲演唱的部分，本研究的目的在於檢驗李宗盛與張雨生所創作的流行歌曲中有關「唱腔節奏」的技法。不同語言的固有節奏特性使得創作詞曲時所要考量的原則有所不同，西方語言學與音樂學家對於這方面的議題已有相當深入的了解，然而這類理論在華語流行歌曲研究中仍相當稀有。本研究涉及三個層面的節奏性，一為語言節律，二為詩歌或歌詞等非散文文體所體現的節奏，三則是音樂的節拍與節奏，本文探討的便是上述三種節奏性質的綜合，其中研究議題包含：歌詞與樂句之相順關係、標記性、詩歌體與模進手法、節奏終止式。再者，於主副歌結構中，唱腔節奏的不同功能及效果包括：感嘆、段落的對比、語言節律及其情緒表現、副歌重新詮釋的情感凸顯。此外，唱腔節奏和基本律動、歌手的詮釋亦有緊密互動。

The term “chàng qiāng” comes from Chinese opera, referring to the part which is sung. The present study aims at examining the rhythmic features of sung melodies (i.e., chàng qiāng rhythm or vocal rhythm) in Mandarin popular songs composed by Jonathan Lee and Tom Chang. The distinct innate rhythmic styles of world’s languages differentiate the principles when composing lyrics and melodies. However, there haven’t been much research on this subject in mandarin popular song studies. This research focuses on rhythm in three levels: (i) rhythm as ‘speech prosody’, (ii) rhythm as ‘verse/chorus structure’, and (iii) musical rhythm and meter. The research issues include the congruency between the vocal rhythm and linguistic segmentation, markedness, poetic sequencing, and rhythmic cadence. Within a verse-chorus form, the vocal rhythm fulfills various effects such as interjections, highlighting the sectional structure, linguistic/emotional prosody, reinterpretation of the chorus. Its major functions are related to creating/enhancing the emotion, contrast, and focus of a song. Moreover, there are interactions between the vocal rhythm, accompaniment grooves and singer’s interpretation.