摘要

鄂西南民歌根植于巴楚地域文化和土苗山地民俗之中，是地方传统音乐文化的重要组成部分，它的唱腔不追求繁复，显得质朴、灵动，地域特征也相当鲜明。梳理已有成果会发现，学界关注较多的仍是《龙船调》的曲式结构、方言音韵、演唱技法以及文本变异；而把《龙船调》和《六口茶》放在同一框架下，专门就衬词衬腔的演唱功能做对比分析的研究并不多，相关细分研究还有明显空缺。本文以两首鄂西南经典民歌为研究对象，依托现有文献资料，结合文献研究法、音乐形态分析法与对比研究法，对两首作品衬词衬腔的表现形态与演唱功用展开系统探析。从演唱实际看，两首民歌里的衬词衬腔都承担着关键作用。其中《龙船调》中的衬词衬腔形式较丰富，也存在一定版本差异；它能够舒展旋律线条、修饰演唱音色，并把热闹、鲜活的乡土民俗氛围烘托出来。《六口茶》则依托问答式歌词结构，借口语化衬词衬腔规整演唱节奏、强化对唱互动性，和土家情歌生活化的演唱特点比较贴合。二者都建立在鄂西南本土方言音韵之上，却形成了风格迥异的衬腔演唱范式。文章厘清了两首经典民歌衬词衬腔在演唱功能上的差异，也补充了鄂西南民歌衬腔研究的细化内容；对鄂西南民歌的演唱实践与地域民间音乐传承，能提供较为实在的参考依据。

Abstract

The folk songs of southwestern Hubei are deeply rooted in the regional culture of Ba and Chu and the mountainous folk customs of the Tujia and Miao people, forming an essential part of local traditional music. Their melodies avoid complexity, appearing simple, vivid, and distinctly marked by regional characteristics. A review of existing research reveals that scholars have primarily focused on the musical form, dialect phonetics, vocal techniques, and textual variations of “Longchuan Diao” (Dragon Boat Tune). However, few studies have placed “Longchuan Diao” and “Liu Kou Cha” (Six Cups of Tea) within a unified framework to conduct comparative analyses specifically on the functional roles of interjections and interlacing phrases in performance, leaving significant gaps in specialized research. This paper takes these two classic folk songs from southwestern Hubei as its subject, relying on available literature and employing methods such as documentary research, musical morphology analysis, and comparative study to systematically examine the expressive forms and performative functions of their interjections and interlacing phrases. In actual performance, both songs rely heavily on these elements. “Longchuan Diao” features a richer variety of interjections and interlacing phrases, with notable differences across versions; they help extend melodic lines, refine vocal timbre, and enhance the lively, vibrant atmosphere of rural folk traditions. “Liu Kou Cha,” on the other hand, utilizes a question-and-answer lyrical structure, using colloquial interjections and interlacing phrases to regulate rhythmic patterns and strengthen the interactive nature of call-and-response singing, aligning closely with the down-to-earth, life-oriented style typical of Tujia love songs. Both songs are grounded in the phonetic system of the local dialects of southwestern Hubei, yet have developed distinct styles of interlacing phrase performance. The article clarifies the differences in the performative functions of interjections and interlacing phrases between these two classic folk songs, enriching the detailed understanding of this aspect in southwestern Hubei folk music. It also provides practical reference for the performance practice and preservation of regional folk music in the area.

参考文献