《二泉映月》中“鱼咬尾”的运用

摘   要

《2泉映月》是我国民间盲艺人阿炳（华彦钧）的2胡传世之作，这首如泣如诉，极富歌唱性的乐曲在国内外音乐界影响颇大。它吸收苏南1带的民歌及常锡滩簧的音调，曲调委婉，感情细腻。乐句之间环环相接，连绵不绝，可以说是比较典型的顶真格旋律，即后1乐句的第1音用前1乐句最末1个音，这在民间乐曲中称为“鱼咬尾”。
    阿炳在《2泉映月》中将“鱼咬尾”连接手法巧妙地通篇运用，在研究它的创作素材、曲调、旋律、情感表达、演奏技法等音乐特色中具有很重要的意义和价值。
关键词：鱼咬尾； 连接手法； 创作素材； 创编手法； 演奏技法
 

ABSTRACT

Two Springs Reflect Moon, a masterpiece of China’s flok blird musician named A Bing (or Hua Yanjun), has powerful influence in musical circles home and abroad dut to its tuning balenchly and singing traits. The piece absorbed elements from the folk,songs in South Jiangsu and tunes of Tanhuang in Changxi, possessing a tender and delicate feeling. The typical model is each line connected from edn to end. The first note of a line shares the same note of the last of the former, which is called “the fish bktes the tail” in folk melody.
The blind musician applied “the fish bites the tail” skillfuly all through the piece. A carepul research into the practice is of significance and value for its creation nesources, tunes, melody, emcotion expression and playing perforamance.
Keywords：The Fish Bites the Tail; Conuunctions; Creation Resources; Composition; Performance