實(shí)驗(yàn)語(yǔ)音學(xué)角度下聲調(diào)與曲調(diào)研究及對(duì)《詩(shī)經(jīng)》押韻現(xiàn)象的應(yīng)用
發(fā)布時(shí)間：2018-08-01 10:56
【摘要】：一首歌曲本身就具有曲調(diào),而歌曲的歌詞又帶有聲調(diào),那么歌曲在演唱時(shí)其音高頻率和音高走向是受聲調(diào)的影響還是曲調(diào)影響,亦或是受聲調(diào)和曲調(diào)同時(shí)影響?從這個(gè)立足點(diǎn)出發(fā),本文從實(shí)驗(yàn)語(yǔ)音學(xué)的角度探索歌曲的聲調(diào)和曲調(diào)對(duì)歌曲的音高頻率和音高走向的影響,并結(jié)合聲調(diào)與曲調(diào)研究的實(shí)驗(yàn)結(jié)論從實(shí)驗(yàn)語(yǔ)音學(xué)的角度來嘗試解釋《詩(shī)經(jīng)》中存在的異調(diào)相押現(xiàn)象。文章以普通話語(yǔ)料為主體,實(shí)驗(yàn)語(yǔ)料皆在無噪音、無伴奏的條件下錄制,并經(jīng)過收集刪選而來,力求保證實(shí)驗(yàn)語(yǔ)料的質(zhì)量。利用語(yǔ)音分析軟件——Praat軟件對(duì)語(yǔ)料進(jìn)行單個(gè)音節(jié)的切分,并進(jìn)行整理和匯總。通過對(duì)同一曲調(diào)下聲調(diào)不同的音節(jié)的音高測(cè)量、不同曲調(diào)下聲調(diào)相同的音節(jié)的音高測(cè)量、單個(gè)音節(jié)的聲調(diào)與曲調(diào)音高測(cè)量這三個(gè)實(shí)驗(yàn)進(jìn)行全面的觀察對(duì)比和分析,來論證聲調(diào)和曲調(diào)對(duì)歌曲音高頻率和音高走向的影響,并進(jìn)一步將這一結(jié)論應(yīng)用到對(duì)《詩(shī)經(jīng)》異調(diào)相押的解釋。本文分為五個(gè)部分:第一章為緒論,主要介紹了聲調(diào)實(shí)驗(yàn)的研究現(xiàn)狀,曲調(diào)的研究現(xiàn)狀,《詩(shī)經(jīng)》押韻的研究現(xiàn)狀以及本文的研究目的和意義,研究方法與思路。第二章主要是實(shí)驗(yàn)語(yǔ)音學(xué)的概述,介紹了實(shí)驗(yàn)語(yǔ)音學(xué)的定義和實(shí)驗(yàn)語(yǔ)音學(xué)的發(fā)展階段,將實(shí)驗(yàn)語(yǔ)音學(xué)的發(fā)展分為1920年以前、1920年—1940年、1940年—1960年、1960年—1980年四個(gè)階段。第三章是本文的重點(diǎn),也是本文的主要部分,主要是實(shí)驗(yàn)語(yǔ)音學(xué)角度下的聲調(diào)與曲調(diào)的研究與分析。本章分為五個(gè)部分,第一部分對(duì)本文實(shí)驗(yàn)的主要軟件Format Factory軟件和Praat軟件進(jìn)行了簡(jiǎn)單的介紹;第二部分介紹了實(shí)驗(yàn)語(yǔ)料的來源,主要包括受試對(duì)象的選取和實(shí)驗(yàn)語(yǔ)料的收集兩小節(jié);第三部分詳細(xì)介紹了實(shí)驗(yàn)的操作步驟,包括原始音頻的格式轉(zhuǎn)換、單個(gè)音節(jié)的切分;第四部分是對(duì)實(shí)驗(yàn)數(shù)據(jù)的分析與統(tǒng)計(jì)。首先簡(jiǎn)單介紹了音高基頻數(shù)據(jù)如何作圖,其次對(duì)同一曲調(diào)下聲調(diào)不同的音節(jié)的音高測(cè)量、不同曲調(diào)下聲調(diào)相同的音節(jié)的音高測(cè)量、單個(gè)音節(jié)的聲調(diào)與曲調(diào)音高測(cè)量三個(gè)實(shí)驗(yàn)的數(shù)據(jù)進(jìn)行統(tǒng)計(jì),并列舉音高圖譜進(jìn)行對(duì)比觀察,進(jìn)一步分析現(xiàn)象和原因;第五部分對(duì)本章進(jìn)行小結(jié),論述音高走向和音高頻率主要是受曲調(diào)的影響這一結(jié)論,并做出簡(jiǎn)單的說明。第四章是聲調(diào)與曲調(diào)實(shí)驗(yàn)研究的應(yīng)用,以《詩(shī)經(jīng)》異調(diào)相押現(xiàn)象研究為例進(jìn)行分析。本章首先對(duì)《詩(shī)經(jīng)》進(jìn)行了簡(jiǎn)單的概述,其次分析了《詩(shī)經(jīng)》異調(diào)現(xiàn)象的情況,主要介紹了唐作藩、鄧葵對(duì)《詩(shī)經(jīng)》異調(diào)相押現(xiàn)象數(shù)據(jù)的統(tǒng)計(jì),以及江有誥在解釋異調(diào)相押現(xiàn)象時(shí)為追求"聲韻諧適"而走入了誤區(qū)。再次對(duì)上古時(shí)期的聲調(diào)進(jìn)行研究,論述了以陳第為代表的上古無聲調(diào)說,以顧炎武、江永、王力等人為代表的上古四聲說,以章太炎、黃侃為代表的上古二聲說,以段玉裁、孔廣森為代表的上古三聲說和以王國(guó)維、唐作藩為代表的上古五聲說。最后提出無論上古時(shí)期有無聲調(diào),歌曲在演唱時(shí)受曲調(diào)影響,所以只要韻字的曲調(diào)相同,聽起來也是押韻的。第五章為總結(jié)。本章簡(jiǎn)單總結(jié)了全文的內(nèi)容,對(duì)全文脈絡(luò)進(jìn)行梳理,進(jìn)一步提出了本文在研究中存在的不足之處以及對(duì)將來進(jìn)一步研究的展望。文章從實(shí)驗(yàn)語(yǔ)言學(xué)的角度研究聲調(diào)與曲調(diào)對(duì)歌曲的音高頻率和音高走向的影響,并用此實(shí)驗(yàn)結(jié)論來解釋《詩(shī)經(jīng)》異調(diào)相押現(xiàn)象,希望通過本文能為語(yǔ)言學(xué)和音韻學(xué)的交叉研究做出微薄的貢獻(xiàn)。
[Abstract]:A song itself has a tune, and the lyrics of the song have a tone. Then, when the song is sung, the pitch frequency and the pitch direction are influenced by the tone or the tune, or are the tone harmonization? From this point of view, the tone and tune of the song are explored from the point of view of the experimental phonology to the song. The influence of pitch frequency and pitch direction, and combining the experimental conclusions of tone and tune study, from the perspective of experimental phonetics, to try to explain the phenomenon of hetero phase in "Book of Songs >". The article takes the corpus of Mandarin as the main body, the experimental corpus is recorded in the condition of no noise, without accompaniment, and is collected and selected to ensure the reality. The quality of the language material. Use the speech analysis software - Praat software to divide the single syllable of the corpus and carry out the collation and summary. By measuring the pitch of the syllable with different tones under the same tune, the pitch measurement of the same syllable in different tunes, the three experiments of the single syllable tone and the pitch measurement. Comprehensive observation and comparison and analysis to demonstrate the influence of tone and tune on the pitch frequency and pitch direction of the song, and further apply this conclusion to the interpretation of "Book of Songs >" in different phase. This article is divided into five parts: the first chapter is the introduction, which mainly introduces the research status of the tone experiment, the research status of the melody, the research of the Book of Songs rhyme. The second chapter is the overview of the experimental phonetics, the definition of the experimental phonetics and the development stage of experimental phonetics. The development of experimental phonetics is divided into four stages before 1920, 1920 to 1940, 1940 to 1960, 1960 to 1980. Third The chapter is the focus of this article, and it is also the main part of this article. It is mainly the research and analysis of the tone and tune of the experimental phonetics. This chapter is divided into five parts. The first part is a brief introduction to the main software Format Factory and Praat software of this experiment; the second part introduces the source of the experimental corpus, the main package. Two sections are included in the selection of subjects and the collection of experimental corpus. The third part details the operation steps of the experiment, including the format conversion of the original audio, the segmentation of the single syllable; the fourth part is the analysis and statistics of the experimental data. First, it briefly introduces how the pitch basic frequency data is drawn and the tone is not in the same tune. The measurement of the pitch of the same syllable, the measurement of the pitch of the syllable with the same tone under different tunes, the statistics of three experiments of the single syllable tone and the pitch measurement, and the contrast observation of the pitch atlas, and the further analysis of the phenomena and reasons; the fifth part of this chapter is a summary of the pitch direction and the frequency main of the pitch. The fourth chapter is the application of the experimental study of tone and tune, and the fourth chapter is the analysis of the study of the phenomenon of "Book of Songs >". This chapter first gives a brief overview of the "Book of Songs >", followed by the analysis of the phenomenon of "Book of Songs >", and the main introduction of Tang Zuofan and Deng Kui to < Book of Songs. The statistics of the data of the phenomenon of the phenomenon of the abnormal phase of the phase and the misunderstandings for the pursuit of "sound rhyme" in the explanation of the phenomenon of "sound rhyme" in the explanation of the phenomenon of "sound rhyme". Again, a study of the tone of the ancient times was carried out, and the four voices, represented by Gu Yanwu, Jiang Yong and Wang Li, represented by Chen Di, represented by Gu Yanwu, Jiang Yong and Wang Li, were represented by Zhang Taiyan and Huang Kan for the generation. In the ancient two tones of the table, the ancient three tones represented by Duan Yucai and Kong Guangsen and the ancient five voices represented by Wang Guowei and Tang fan fan were said. Finally, it was proposed that no matter in ancient times there was no sound in the ancient period, the song was influenced by the tune during the singing. So as long as the melody of the rhyme is the same, it is also rhyme. The fifth chapter is a summary. This chapter briefly summarizes this chapter. The contents of the full text are combed, the shortcomings of this paper and the prospect of further research in the future are put forward. The influence of tone and tune on the pitch frequency and pitch direction of the song is studied from the perspective of experimental linguistics, and the experimental conclusions are used to explain the "Book of Songs >" It is hoped that this paper will make a modest contribution to the cross study of linguistics and phonology.
【學(xué)位授予單位】：安徽大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：H111
本文編號(hào)：2157345
[Abstract]:A song itself has a tune, and the lyrics of the song have a tone. Then, when the song is sung, the pitch frequency and the pitch direction are influenced by the tone or the tune, or are the tone harmonization? From this point of view, the tone and tune of the song are explored from the point of view of the experimental phonology to the song. The influence of pitch frequency and pitch direction, and combining the experimental conclusions of tone and tune study, from the perspective of experimental phonetics, to try to explain the phenomenon of hetero phase in "Book of Songs >". The article takes the corpus of Mandarin as the main body, the experimental corpus is recorded in the condition of no noise, without accompaniment, and is collected and selected to ensure the reality. The quality of the language material. Use the speech analysis software - Praat software to divide the single syllable of the corpus and carry out the collation and summary. By measuring the pitch of the syllable with different tones under the same tune, the pitch measurement of the same syllable in different tunes, the three experiments of the single syllable tone and the pitch measurement. Comprehensive observation and comparison and analysis to demonstrate the influence of tone and tune on the pitch frequency and pitch direction of the song, and further apply this conclusion to the interpretation of "Book of Songs >" in different phase. This article is divided into five parts: the first chapter is the introduction, which mainly introduces the research status of the tone experiment, the research status of the melody, the research of the Book of Songs rhyme. The second chapter is the overview of the experimental phonetics, the definition of the experimental phonetics and the development stage of experimental phonetics. The development of experimental phonetics is divided into four stages before 1920, 1920 to 1940, 1940 to 1960, 1960 to 1980. Third The chapter is the focus of this article, and it is also the main part of this article. It is mainly the research and analysis of the tone and tune of the experimental phonetics. This chapter is divided into five parts. The first part is a brief introduction to the main software Format Factory and Praat software of this experiment; the second part introduces the source of the experimental corpus, the main package. Two sections are included in the selection of subjects and the collection of experimental corpus. The third part details the operation steps of the experiment, including the format conversion of the original audio, the segmentation of the single syllable; the fourth part is the analysis and statistics of the experimental data. First, it briefly introduces how the pitch basic frequency data is drawn and the tone is not in the same tune. The measurement of the pitch of the same syllable, the measurement of the pitch of the syllable with the same tone under different tunes, the statistics of three experiments of the single syllable tone and the pitch measurement, and the contrast observation of the pitch atlas, and the further analysis of the phenomena and reasons; the fifth part of this chapter is a summary of the pitch direction and the frequency main of the pitch. The fourth chapter is the application of the experimental study of tone and tune, and the fourth chapter is the analysis of the study of the phenomenon of "Book of Songs >". This chapter first gives a brief overview of the "Book of Songs >", followed by the analysis of the phenomenon of "Book of Songs >", and the main introduction of Tang Zuofan and Deng Kui to < Book of Songs. The statistics of the data of the phenomenon of the phenomenon of the abnormal phase of the phase and the misunderstandings for the pursuit of "sound rhyme" in the explanation of the phenomenon of "sound rhyme" in the explanation of the phenomenon of "sound rhyme". Again, a study of the tone of the ancient times was carried out, and the four voices, represented by Gu Yanwu, Jiang Yong and Wang Li, represented by Chen Di, represented by Gu Yanwu, Jiang Yong and Wang Li, were represented by Zhang Taiyan and Huang Kan for the generation. In the ancient two tones of the table, the ancient three tones represented by Duan Yucai and Kong Guangsen and the ancient five voices represented by Wang Guowei and Tang fan fan were said. Finally, it was proposed that no matter in ancient times there was no sound in the ancient period, the song was influenced by the tune during the singing. So as long as the melody of the rhyme is the same, it is also rhyme. The fifth chapter is a summary. This chapter briefly summarizes this chapter. The contents of the full text are combed, the shortcomings of this paper and the prospect of further research in the future are put forward. The influence of tone and tune on the pitch frequency and pitch direction of the song is studied from the perspective of experimental linguistics, and the experimental conclusions are used to explain the "Book of Songs >" It is hoped that this paper will make a modest contribution to the cross study of linguistics and phonology.
【學(xué)位授予單位】：安徽大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：H111
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