古诗词谱曲的字调与歌腔关系探析——以黄沾粤语歌曲《有谁知我此时情》为例

汉语是声调语言，天生地作几近音乐，益于入乐。先秦诗乐相合的“歌诗”，唐代取名士诗句唱入歌曲的“声诗”，传承的是“诗言志，歌永言，声依咏，律和声”传统。千载唐音听粤腔，粤语素有唐宋音韵古遗。香港作曲家黄沾谱写的粤语歌曲《有谁知我此时情》，歌词是南宋女词人聂胜琼写的《鹧鸪天·寄别李生》，该歌曲以粤语的四声阴阳九调自然化成音乐旋律，实现了声腔与字调的高度和谐。古诗词谱曲应坚持和创新音乐配合汉字的四声及阴阳，乐化字词的声调为旋律，“依字行腔”的传统。

On the Relationship between Tone and Tablature Tune in Ancient Chinese Musical Lyrics

As a tonic language, Chinese possesses the typical musical nature and is easily sung. In the Pre-Qin Period, there were musical poems that integrated both poetries and songs. In Tang Dynasty, sound poems took popular verses of famous poets as lyrics for singing. These two kinds of poems successfully passed on the tradition of ＂conveying ambition by poetry, passing poetic message by singing, singing by following the sound, and integrat- ing tonality and rhythm in songs＂. It is well-known that poetic singing in Tang came from Guangdong tune which has long been honored to have inherited the poetic singing charms of the phonologic monuments of Tang and Song. The present study, taking Huang Zhan＇s ＂Who Knows My Feeling Now＂ as an example, finds that the four tones and the nine tunes were developed into musical rhythms naturally so that good harmony was achieved between sound and tunes. The study suggests that in composing music for poems, careful work should be done according to the beats and rhymes of the verse, in which the four tones of Chinese language and rhythmic patterns of yin-yang should be obeyed and developed creatively.