中国伝統打奏楽器のオノマトペ「鑼鼓経」の諸相 : その構造、学習、音象徴性について
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In China, there are various percussion instruments, mainly metallic idiophones and membranophones, the music of which also is spread throughout the country and in many genres. The sound of percussion music is inseparable from the people's traditional daily life, so that it may represent the Chinese sound/music environment. Oral mnemonics, called luogujing, have been widely used in the transmission of percussion music. These must be analysed in order to investigate the essential qualities of traditional Chinese music from a point of view of learning behavior. Howerer, systematic research concerning this practice has long been insufficient. This article describes some features of luogujing, with particular reference to accompaniment percussion music of jingju. 1. Structure In Chinese theater music, percussion performers always choose suitable rhythmic patterns (dianz) from a stock of them according to content of the scene, character, or kind of chanting melody. With these patterns they suport the progress of drama. Dianz of jingju is mainly played with gu (single headed drum), ban (concussions), daluo (big gong), xiaoluo (small gong) and bo (symbals). Syllables of Luogujing can be separated into two parts; the first represents the timbre of each musical instrument itself or sounds produced with different ways of playing. The second represents the sound of dianz where the part of each instrument is not independent. It chooses the most important sound in each beat, then joins the syllables corressponding to it, so that they represent the whole line of the dianz. This is a fairly rare style compared with that of other peoples/regions. It seems that a lack of regularity and continuity in each instrument's rhythm causes this phenomenon. 2. The Practical State of Learning It takes at least 6 years or more to master the fundamental arts of playing. Before practicing an instrument, students must learn luogujing by heart, for all of the instruments that play dianz. In other words, they experience the total sound of dianz through luogujing in order to grasp the accurate way of articulation for each instrument. Percussion players of theater music often exhibit their playing ability by lengthning and shortening dianz in an improvisatory way. Thorough study of dianz using luogujing makes improvisation in a group possible. 3. Phonetic Symbolism It has been pointed out that the perception or sound symbolism caused by a specific phonetic sound can be univernal. Here, we find the same inclinations concerning vowels representing high/low pitch. Also, we compare the general tendencies of sound symbolism in the Chinese language with those of luogujing, showing that the same kind of contouring sound is found in both. However, compared with onomatopoeia in language, these musical mnemonics have many exeptional aspects. Thus, we have yet to find strong continuity between everyday Chinese language and lulogujing.
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