A Study On The Formation Of The Music Style Of Zhejiang Folk Song "Light Singing And Soft Intonation"

Different environments are the source and soil for nurturing different arts.Dialect is a product of the natural environment,social environment,and psychological environment of a place,which directly or indirectly affects the musical form of local folk songs.Wu dialect is the language and culture of the Wu Yue region in China,and is one of the top ten dialects of Chinese language.It is mainly distributed in the south of the lower reaches of the Yangtze River,with Zhejiang Province having the highest number of people using Wu dialect,which gave birth to Zhejiang folk songs sung in the dialect Wu dialect.Minor scale is the main music genre of Zhejiang folk songs,with the influence of ocean culture on the shaping process of Zhejiang folk customs,the soft,sweet,graceful,and beautiful music style has become the main characteristic that distinguishes Zhejiang folk songs from other regions.The Wu dialect is a key factor affecting the formation of this style,which has a certain constraint and development effect on the melody form of Zhejiang folk songs.At present,research has shown that the tone of the lyrics has a more significant constraining effect on the melody of the singing melody than the initial and final consonants,especially in traditional Chinese music.Therefore,this paper is based on the relationship between the singing accent and lyrics of Zhejiang folk songs,mainly studying the internal relationship between the tone of the Wu dialect and the melody form of Zhejiang folk songs.At the same time,it is found that the tone of Wu dialect plays a role in the melody form of Zhejiang folk songs,and summarizes the music style of Zhejiang folk songs that "light singing and soft intonation".However,previous studies have mostly explored the importance of the Wu dialect in Zhejiang folk songs from the perspective of music ontology,and discussed the singing and expression issues of Zhejiang folk songs from the perspectives of listening and language sense,with less attention paid to the dominant factors within the Wu dialect and its specific expression in works.This paper will analyze the relationship between the singing accent and lyrics of Zhejiang folk songs and their singing problems from the perspective of physical acoustics,and is divided into five chapters.Based on the theoretical analysis of the tone and intonation characteristics of the Wu dialect,the first three chapters mainly analyze the reasons for the formation of the "soft intonation" characteristics of Wu dialect,highlighting the particularity of Wu dialect’s tone and intonation;The fourth and fifth chapters aim to explore the internal relationship between the tone and intonation of Wu dialect and the music style of Zhejiang folk song "light singing and soft intonation",as well as the actual singing of Zhejiang folk songs.This paper conducts acoustic experiments on folk songs and specific tones from three different regions in Zhejiang Province.Using Studio One 5 host software and the Celemony Melodyne Editor plugin,the tonal values during the tone values of the lyrics read and the pitch of the singing melody in the work are detected.After comparing and analyzing the experimental results,conclusions are drawn and repeatedly verified.Finally,based on the experimental conclusions,specific requirements and practical methods are proposed for the expression of the music style of Zhejiang folk song "light singing and soft intonation".Given the research on the three main issues mentioned above,the conclusion of the paper is as follows:Firstly,this paper finds that the tonal pattern and complex tonal arch structure of the "four tones and eight tunes" in Wu dialect provide important prerequisites for the characteristics of "soft intonation".In most regions,the tone value of Wu dialect is lower than that of Mandarin,with complex and variable tone patterns and higher twists.The tone range is narrow,and the dynamic range is smaller than that of Mandarin.This is the fundamental reason why Wu dialect sounds "soft".From the perspective of intonation,the long intonation of Wu dialect’s entering tone changes the originally short sense of restraint into a stretched and extended one.The "enveloping" tone sandhi mode can make different tone combinations smoother and softer,and the stress characteristics of Wu dialect are basically heavy in the front word,high in tone,and even low in tone.This includes the weakening of minor tones in Wu dialect,as well as the merging of tone categories and the tendency towards similar tone values,making Wu dialect sound smooth,and natural.Secondly,this paper examines the pitch of the eight tones’ tonal values in the Wu dialect of Yueqing,the tone values of the lyrics read of the Yueqing folk song "Sing To the Bird",and the melody pitch during the singing of "Sing To the Bird".It is found that the tonal values during the recitation of the lyrics are basically consistent with the trend of the melody pitch during the singing.Then,the universality and scientificity of this experimental conclusion were verified through folk songs from other regions in Zhejiang Province-Ningbo Lantern Tune "Ma Deng Tune" and Dongyang Mountain Song "Jiu Cai Ge".It was found that the tone of Wu dialect can to some extent constrain and develop the melody form of Zhejiang folk songs.At the same time,the influence of the tone of Wu dialect on the melody form of Zhejiang folk songs is mainly reflected in the use of decorative tones,lining words and supplementary sentences.Different themes reflect the protagonist’s different emotions and basic attitudes,so different singing tones are needed,and decorative tones lining words and supplementary sentences are often the most able to reflect the changes in tone.Thirdly,in terms of the expression of Zhejiang folk songs,in order to grasp the music style of "light singing and soft intonation",before learning to sing,performers should accurately read the lyrics in Wu dialect,experience the characteristics of tone and intonation,and then perform them in the melody.Only then can the rhythm of the lyrics be expressed more smoothly and naturally.At the same time,attention should also be paid to the large number of decorative notes such as leaning notes,sliding notes,tremolo notes,and boeing notes that appear in the melody.They not only reflect the inflection of the Wu dialect,but also reflect the changes and contrasts in intonation.The commonly used lining words such as "ah","luo","lige",and "na" in the lyrics are often used at the end of sentences,and in daily communication,they are mostly short or light tones,and it is necessary to highlight the tone based on the protagonist’s emotions.In terms of the characteristics of melody,Wu dialect has a wide range of tonal categories and different types,so the melody of the song is relatively delicate and flexible,often with a rhythm form where one word corresponds to one tone.When singing,it is necessary to increase the elasticity of the diaphragm appropriately,and the resonance points of singing should be small and concentrated to ensure the coherence and fluency of the melody.It is worth noting that due to the slight difference in the tone of Wu dialect between the southern and northern regions of Zhejiang,northern folk songs are more masculine and bold,while southern folk songs,which are more influenced by marine culture,are more feminine,graceful,and spiritual.Finally,in stage movements,it is necessary to try to imitate the eyes,expressions,gestures,and forms of people in the Jiangnan region,expressing a subtle and dynamic beauty.