旋律
喺音樂上,一首旋律(英文:melody,嚟自希臘文 melōidía [1])係指一系列嘅聲,呢柞聲喺音階上相同或者唔同都得,呢系列嘅聲由一段特定嘅高低關係同節奏組合埋一齊形成一個整體。當一個人聽到一首旋律嗰陣,會將首旋律視為一段能夠單獨噉存在嘅物體,唔會覺得段聲係「由某段音樂嗰度切出嚟、唔完整嘅」。响廣義上,旋律仲可以包埋音色(指啲聲聽落似係由乜嘢架生發出嚟嘅)等嘅特性[2]。
舉個例說明,隻鼬 pop 咗(附圖嗰幅樂譜)就係一首好出名嘅旋律,而附曲係一首包含咗隻鼬 pop 咗喺入面嘅樂曲,喺隻鼬 pop 咗首原先旋律之外仲加咗啲音符,不過就算將隻鼬 pop 咗嗰首旋律由首曲嗰度拆出嚟獨立噉播,多數聽眾嘅腦海都唔會浮現「呢段音樂唔完整」嘅諗法。所以隻鼬 pop 咗就算係一首旋律[3][4]。
旋律係體現一首音樂裏面嘅思想同感情嘅主要元素。喺作曲嘅過程當中,作曲人正路都會係諗好咗首曲嘅主旋律先嘅,諗掂咗先至會嚟和音化-即係郁手幫首旋律落伴奏(例如係使唔使用一啲低音嚟伴隨首主旋律)同和弦(簡單講即係將多過一個音符疊埋一齊)等比較裝飾性質嘅嘢[5]。
定義
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一般嚟講,一首「旋律」喺定義上會包含音高(樂譜上面直向嘅變化)同節奏(樂譜上面橫向嘅變化)兩大組成部份:
音高
[編輯]音高簡單講係指一個音符(簡化講就係一吓聲)聽落有幾「高」。技術化啲噉講嘅話,音高係指人腦對一個音符嘅頻率嘅感受:聲本質上係一種波動,而頻率係波動會有嘅特性,喺現代聲學上有得精確噉量度;實證嘅研究表明,如果一吓聲嘅頻率高(例如 880 Hz),聽嘅人會覺得吓聲「高音」,而相反如果一吓聲嘅頻率低(例如 55 Hz),聽嘅人會覺得吓聲「低音」;不過要留意嘅係,對音高嘅判斷亦有些少主觀,人對一個音符嘅音高嘅感知可以受好多因素左右,例如「周圍其他音符嘅音高」就有可能左右一個人對一個音符嘅音高嘅判斷(睇埋相對音高)[7][8]。跟住音符就可以按音高分做「C、D、E、F...」等嘅各個音名,每個音名都係指某啲特定頻率嘅聲,例如中 C 就係指頻率大約 261.626 Hz 嘅聲[註 2][9]。
廿一世紀初嘅樂譜會用一個音符喺條五線譜(stave)上面嘅高度嚟表示個音符嘅音高:一條五線譜會由五條打橫嘅直線組成,五條直線之間會形成四條空白嘅空間,一個音符個「頭」一係喺正其中一條(畫低咗或者假想嘅)打橫直線上面、一係喺其中一條打橫空間裏面俾其中兩條直線夾住,而個「頭」嘅位置愈高就表示個音符愈高音;一張樂譜嘅每行都會有兩條五線譜一上一下,中 C 就係位於上五線譜對落嘅位嗰度(下圖位置低啲嗰個 C)[10]。响用鋼琴演奏一段音樂嗰時,演奏嘅人要望住張樂譜-或者事先背熟咗張樂譜-並且順序一吓一吓噉彈出每一個音符,途中每一吓音符佢手指撳緊邊個位就會決定座鋼琴發出幾高音嘅聲[11]。
以下係基本 C 大調嗰啲音高喺樂譜入面嘅樣,第一個音係中 C:
音高嘅上落(旋律郁動)係旋律嘅重要一環:旋律梗會涉及啲音符嘅音高上上落落,例如下圖係著名華爾茲樂曲《藍色多瑙河》嘅樂譜其中一段,一行分上下兩條五線譜,下五線譜係伴奏[註 3],而上五線譜係首主旋律,兩段嘢啲音符嘅音高都有隨住首旋律行進而係噉上落:
節奏
[編輯]節奏係旋律嘅另一個重要組成部份,指段旋律嗰啲聲喺時間當中嘅擺位:音樂本質上就係喺時間當中組合聲,相對於畫同雕塑等嘅視藝係喺空間當中組合色彩,節奏指嘅正正就係一段旋律嗰啲聲喺時間當中係點樣分佈嘅,包括咗啲音符之間嘅時間距離;節奏嘅基本組成部份係拍子(beat),拍子係一種抽象嘅計時單位,一吓拍子(通常用毫秒嚟計)嘅長度可變但喺同一段旋律裏面恆定,而且一吓拍子唔一定要有聲(玩音樂嘅人有得用腳板踏吓踏吓噉嚟數拍子);而一段旋律「每分鐘有幾多吓拍子」(bpm)就反映咗段音樂嘅速度(tempo),係現代音樂當中衡量「一段音樂嘅節奏有幾快」嘅最常用指標-bpm 高就係速度快,bpm 低就係速度慢。除此之外,唔同旋律之間仲可以喺拍子記號(簡單講就係「每個週期有幾多吓拍子」)等嘅節奏特性上有差異[12][13]。
下圖係拍子記號 3/4(每個週期三吓拍子、每吓拍子一個四分音符咁長)嘅華爾滋節奏,例如上面提到嘅《藍色多瑙河》旋律就用咗呢種節奏[14]:
一首旋律嘅節奏特性會對聽嘅人嘅感受有具體嘅影響:例如想像一個人喺度跟住首旋律嘅節奏嚟跳舞,佢要跟住首音樂啲拍子嚟郁動,令到自己每個舞步都會跟隨拍子起始同終結[15];事實表明,當一首音樂嘅速度突然間變快嗰陣,跳舞嘅人嘅動作都會因為要跟隨突然快咗嘅拍子(拍子之間嘅時間距離短咗)而變快,例如係查達斯呢種源自 18 世紀匈牙利嘅民俗音樂同民俗舞噉,就出嗮名會喺音樂嘅中途突然間速度變快-一首音樂裏面會明顯分做幾段旋律,最先嗰段速度相對慢,而唔同嘅旋律段落之間喺 bpm(節奏特性嘅一種)上嘅差異有返咁上下大[16]。
主旋律
[編輯]一首音樂通常會有段主旋律,係一首音樂嘅主要思想同情感嘅所在。主旋律會同和音(簡單講即係主旋律嘅陪襯;睇下面)一齊各自獨立噉響,但主旋律通常會大聲啲、獨特啲(例如音色零舍唔同)又或者係啲音高變化得勁啲(伴奏好多時都好重複)-令到首主旋律比較大機會成為聽眾嘅注意力中心[17][18]。啲人作曲嗰陣通常第一件事就係要諗掂首樂曲嘅主旋律先[19]。
好似係下圖噉,下圖係莫札特名曲《 C 大調第 16 號鋼琴奏鳴曲》第一樂章嘅樂譜開頭嗰一小段,一行樂譜有上下兩條五線譜,而喺呢首曲當中,上五線譜嘅係主旋律,下五線譜嘅係伴奏(阿爾伯蒂低音;Alberti bass)-由呢段樂譜嗰度經已睇得出,同首主旋律比起嚟,伴奏相當單調同重複(所以啱嗮攞嚟做主旋律嘅陪襯)[20]:
特性
[編輯]主旋律可以用好多特性嚟衡量,唔同特性都會造成唔同嘅藝術效果:
- 旋律間距:指嘅係段旋律最高嗰個音同最低嗰個音喺音高上差幾遠[22];旋律間距呢樣嘢喺作歌(預俾人攞嚟唱嘅音樂)嗰時相當重要,因為人聲有一定嘅限制,人聲音域係指一個人把聲最高音同佢把聲最低音差距幾大,而呢樣嘢可以有個體差異,如果一首歌嘅旋律間距大得滯,就有可能搞到某啲人冇能力唱首歌出嚟[23]。
- 樂句:一首旋律可以想像成由樂句組成,一句樂句係指一柞能夠一齊有意思噉(呢樣嘢有啲主觀)出現嘅音符,聽嘅人往往會無意識噉將一首旋律拆成一句句嘅樂句-聽完一句樂句之後係噉咦停一停先至再諗下一句樂句係乜,即係如果話樂句係句子,旋律就係一篇完整嘅文章[24]。睇埋終止式。
- 樂想(motif,近似粵拼:mou6 ti1 fu4):係指一段硬係重複噉出現嘅音符串,通常(但唔一定)短過樂句。例如電子遊戲音樂當中就好興用噉嘅做法(主導樂想)-一隻電子遊戲嘅 OST 會有若干首曲,當中有幾首曲都係同某個角色有關嘅,即係分別會喺個角色出場嗰陣播、喺玩家同嗰個角色戰鬥嗰陣播、同埋喺嗰個角色死嗰陣播呀噉,而電子遊戲嘅作曲家往往會喺呢幾段音樂裏面用相同嘅樂想(即係嗰幾首曲都包含同一段串短嘅音符),令嗰幾首音樂都引起類似嘅情緒[25]。
... 等等。
和音化
[編輯]和音化(harmonization)係作曲嘅一個步驟,指經已諗掂咗首主旋律,於是就幫首主旋律落一啲比較裝飾性質同輔助性質嘅嘢[5][27]。好似係伴奏噉就係和音化工作嘅重要一環,伴奏係指一啲負責支援主旋律嘅音符,好多時會係低音(擺喺下五線譜嗰度);舉個例說明,華爾茲音樂用嘅係每段節拍三吓拍子,每週期第一吓拍子強,而華爾滋音樂興用嘅 boom cha cha 式伴奏(下圖)就會係跟 1 2 3,1 2 3,1 2 3... 噉嘅規律,所以作曲嘅人幫一首華爾茲音樂加 boom cha cha 伴奏會幫到演奏嘅人一路彈一路留意住拍子嘅行進,於是呢種伴奏對首主旋律嚟講就會起到支援嘅作用[28]。
除咗伴奏之外,和音化工作會度嘅嘢仲有好多,包括終止式以及係協和同不協和等嘅問題。終止式係指一段加喺尾嗰度,用嚟幫一段音樂產生解決嘅感覺嘅音符[29];協和同不協和就大致上係指兩個同時或者時間上極相近嘅聲係咪「好聽」或者「令人舒服」,兩個聲一齊出現會「好聽」嘅係協和,「唔好聽」嘅係不協和,例如增四度就係一個好出名嘅不協和音程,增四度嘅音符一齊出現俾人指話好多時都會令人唔舒服[30],所以做親和音化仲需要諗埋和音化嗰陣加落去嗰啲音符同主旋律嗰啲音符係咪協和。
睇埋
[編輯]文獻
[編輯]- Apel, W. (2003). The Harvard dictionary of music. Harvard University Press.
- Chakraborty, S., Kolla Krishnapriya, L., Chauhan, S., Solanki, S. S., & Mahto, K. (2010). Melody revisited: tips from Indian music theory. INTERNATIONAL JOURNAL OF COMPUTATIONAL COGNITION, 8(3).
- Murphy, H. A. (1956). The Art of Melody (PDF). Journal of Research in Music Education, 4(2), 137-139.
- Nichols, E., Morris, D., Basu, S., & Raphael, C. (2016). Relationships between lyrics and melody in popular music (PDF).
- Pinkerton, R. C. (1956). Information theory and melody (PDF). Scientific American, 194(2), 77-87.
- Salamon, J., & Gómez, E. (2012). Melody extraction from polyphonic music signals using pitch contour characteristics (PDF). IEEE Transactions on Audio, Speech, and Language Processing, 20(6), 1759-1770.
註釋
[編輯]引述
[編輯]- ↑ μελῳδία. Liddell, Henry George; Scott, Robert; A Greek-English Lexicon,melōidía 係希臘文唱歌噉解。
- ↑ Kliewer, V. (1975). "Melody: Linear Aspects of Twentieth-Century Music", Aspects of Twentieth-Century Music, pp. 270–301. Wittlich, Gary (ed.). Englewood Cliffs, New Jersey: Prentice-Hall.
- ↑ Bingham, W. (1910). Studies in melody. The Psychological Review: Monograph Supplements, 12(3), i.
- ↑ Chakraborty, S., Kolla Krishnapriya, L., Chauhan, S., Solanki, S. S., & Mahto, K. (2010). Melody revisited: tips from Indian music theory. INTERNATIONAL JOURNAL OF COMPUTATIONAL COGNITION, 8(3).
- ↑ 5.0 5.1 Schonbrun, Marc (2006). The Everything Music Theory Book: A Complete Guide to Taking Your Understanding of Music to the Next Level, p.257.
- ↑ Why melody matters. Gramophone,原版英文:"(Melody)... is not only a musical subject, but a manifestation of the musically subjective. It carries and radiates personality with as much clarity and poignancy as harmony and rhythm combined. As such a powerful tool of communication, melody serves not only as protagonist in its own drama, but as messenger from the author to the audience."
- ↑ Leipold, S., Greber, M., Sele, S., & Jäncke, L. (2019). Neural patterns reveal single-trial information on absolute pitch and relative pitch perception (PDF). NeuroImage, 200, 132-141.
- ↑ Hartmann, William M. (2005). Signals, Sound, and Sensation, corrected, fifth printing. Modern Acoustics and Signal Processing. Woodbury, NY: American Institute of Physics; New York: Springer.
- ↑ Large, John (February 1981). "Theory in Practice: Building a Firm Foundation". Music Educators Journal. 32: 30–35.
- ↑ Rachmaninoff, Sergei (1965). Piano concertos nos. 1, 2, and 3. Courier Dover Publications
- ↑ Järveläinen, H., Verma, T., & Välimäki, V. (2002). Perception and adjustment of pitch in inharmonic string instrument tones. Journal of New Music Research, 31(4), 311-319.
- ↑ Epstein, David (1995). Shaping Time: Music, the Brain, and Performance. New York: Schirmer Books.
- ↑ Cooper, Grosvenor, and Leonard B. Meyer (1960). The Rhythmic Structure of Music. Chicago: University of Chicago Press.
- ↑ McKee, E. (2012). Decorum of the minuet, delirium of the waltz: A study of dance-music relations in 3/4 time. Indiana University Press.
- ↑ Patel, A. D. (2006). Musical rhythm, linguistic rhythm, and human evolution. Music Perception, 24(1), 99-104.
- ↑ Lafex, A. E. (2013). Reviving Ballet in the Nineteenth Century: Music, Narrative, and Dance in Delibes's Coppélia (Doctoral dissertation, University of Kansas).
- ↑ Durrieu, J. L., Richard, G., David, B., & Févotte, C. (2010). Source/filter model for unsupervised main melody extraction from polyphonic audio signals (PDF). IEEE transactions on audio, speech, and language processing, 18(3), 564-575.
- ↑ Basaran, D., Essid, S., & Peeters, G. (2018, September). Main melody extraction with source-filter NMF and CRNN (PDF). In 19th International Society for Music Information Retreival.
- ↑ Melody. Music Appreciation.
- ↑ Signor Alberti's Moving Bass Line.
- ↑ A Guide To The Types Of Motion In Music.
- ↑ Janssen, B., van Kranenburg, P., & Volk, A. (2015). A comparison of symbolic similarity measures for finding occurrences of melodic segments. In Proceedings of the 16th ISMIR Conference, Málaga, Spain, October 26-30, 2015 (pp. 659-665). ISMIR press.
- ↑ The Role of Melodic Range in Good Songwriting. secretsofsongwriting.com.
- ↑ Nan, Y., Knösche, T. R., & Friederici, A. D. (2006). The perception of musical phrase structure: a cross-cultural ERP study. Brain research, 1094(1), 179-191.
- ↑ 10 of My Favourite Video Game Character Themes. Medium.
- ↑ Motive (Motif). Music appreciation.
- ↑ Yan, Y., Lustig, E., VanderStel, J., & Duan, Z. (2018). Part-invariant Model for Music Generation and Harmonization. In ISMIR (pp. 204-210).
- ↑ Waltz. MUSIC THEORY ACADEMY.
- ↑ Don Michael Randel (1999). The Harvard Concise Dictionary of Music and Musicians, p. 105-106.
- ↑ R., Ken (2012). DOG EAR Tritone Substitution for Jazz Guitar, Amazon Digital Services, Inc., ASIN: B008FRWNIW.