河南箏樂「滑顫音」之聲樂分析－以曹桂芬演奏的五首曹派箏曲為例

An Acoustic Analysis of Hua-chan Tones in Henan Zheng Music-A Case Study of Five Selected Zheng Works Played by Cao Gui-Fen

10.6793/JNTCA.201104.0313

張儷瓊(Li-Chiung Chang)；劉志俊(Chih-Chin Liu)；林雅琇(Ya-Hsiu Lin)

河南箏樂 ； 滑顫音 ； Henan zheng music ； Hua-chan tones

藝術學報

88期（2011 / 04 / 01）

313 - 348

繁體中文

河南箏樂的音韻表現豐富，除了吟、揉、滑、顫基本的左手技法之外，更有許多複合用韻的技法。「滑顫」即是河南箏樂特有的音韻表現，此種技法合併「顫」與「滑」呈現高低起伏、轉折細膩的音響效果。本文運用Tolonen等人所提出的多重基頻偵測方法，將箏樂經過音框切刻與分頻處理後，使用總結式自相關函數取得每個音框的暫態基頻值，並計算音量、頻譜輪廓與統計、泛音組態變化等音色特微，針對河南箏藝傳人曹桂芬的演奏進行採樣分析，深入檢視「滑顫音」的音高、音量與音色樣態。研究鴉現演奏者對於「滑顫」的演奏採用了一種「滑中有顫、顫中有滑」的手法。在演奏上有以「顫」為主附加「滑音」者，亦有「先滑後顫」的作韻模式。「顫」與「滑」兩種技法相互結合，依照「顫」、「滑」的先後順序組合以及左手按顫的速度、週期、幅度、力度等方面的變化，產生多樣的音韻結果，構成了不同形象的樂音變化。本文運用音樂內涵自動分析的音訊處理方法，微觀而細緻地觀察與統計樂人演奏作韻的動態，以視覺的分析結果描述聽覺上細膩多變的「滑顫音」。客觀資料的呈現有益於歸納並解釋樂人主觀的作韻意識、分析其演奏手法的形質與內容。本文以「滑顫音」為例，提供音高、力度及音色上的分析模型，說明樂人如何在河南箏樂繁響激越的基礎上，以豐富的左手作韻技法，增進細膩特出的風格表現。

The phonological expression of Henan zheng school is very rich and charming. Besides the basic left-hand fingering skills such as yin, nao, hua (glide), and chan (vibrato), there are many composite fingering skills which are unique to the zheng music of Henan school. Hua-chan is one of such unique skills which combine both gliding and vibrato characteristics in expression of a wavy motion and a delicate feeling in the acoustic sounds. In this paper, the fundamental pitch detecting technique proposed by Tolonen et al. is applied. The zheng audio signal is at first divided into frames and then filtered into channels. The enhanced summary autocorrelation (ESAC) of every frame is computed so as to precisely detect its fundamental pitch. The sound intensity, spectrum envelope and associated statistics, and overtone configuration are also computed to show the timbre characteristic of the hua-chan tones. Zheng works by Cao Gui-Fen, a master of Henan zheng school, are selected for detailed case study. Her zheng performances are sampled and analyzed to discover the patterns and rules in pitch, intensity, and timbre of the hua-chan tones. The results shows the hua-chan tones are played with glide-in-vibrato or vibrato-in-glide manner, i.e., vibrato tones ornamented with gliding or gliding tones ornamented with vibrato. According to the assembling order of the two fingering skills, as well as the vibrato rates and vibrato extents, an abundance of playing techniques are enabled. The automatic content-based music analysis techniques are applied in the paper, which can delicately deal with the zheng audio signal and provide an objective summary for the various types of hua-chan tones. Our results will be found helpful in discovering facts and rules behind performance of zheng artists when playing hua-chan tones. The proposed model for the hua-chan tones will provide a visual demonstration to illustrate their richness of the transition in pitch, intensity, and timbre, even though within the context of the acoustic sounds of the Henan zheng school.

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