以叶嘉莹教授吟诵实践为例的五绝吟诵韵律声学初探

A Preliminary Acoustic Study on the Rhythmic Patterns of Five-Character Regulated Verse Recitation: A Case of Professor Jiaying Ye’s Chanting Practice

摘要: 本研究采用实验语音学方法，对叶嘉莹教授吟诵和朗诵的五首五言绝句进行了韵律的量化分析。研究核心在于对比“吟诵”与“朗诵”这两种口头表达艺术在节奏模式、音长分布等方面的差异。研究通过使用Praat语音分析软件，测量并比较了不同情境下(平仄、句末、不同诗歌主题)的单字时长和节奏单元划分(如“2 + 3”与“2 + 2 + 1”模式)。研究发现，吟诵相较于朗诵，其节奏更舒缓、自由，更倾向于遵循“平长仄短”的原则，并存在显著的“拖腔”现象(尤其在句末两字)。研究旨在揭示吟诵的音乐性特征及其与情感表达的内在联系，并尝试总结出一般性规律，以期为传统吟诵的传承与教学提供科学依据。在全球化背景下，对“中华吟诵”这一非物质文化遗产的保护与传承具有重要的文化价值。该研究试图为吟诵教学提供一套超越主观感受的、基于客观数据的分析范式，有助于建立更科学、更易于推广的吟诵学习方法，回应了当前吟诵传播中存在的途径单一、资料分散的问题。

Abstract: This study employs experimental phonetic methods to conduct a quantitative prosodic analysis of five five-character quatrains chanted and recited by Professor Jiaying Ye. The core focus lies in comparing the rhythmic patterns and temporal distributions between two oral art forms—“chanting” (yin-song) and “recitation”. Using the Praat audio analysis software, the study measures and contrasts syllable durations and rhythmic unit divisions (such as the “2 + 3” and “2 + 2 + 1” patterns) under different conditions, including tonal alternations (level and oblique tones), line endings, and poetic themes. The results reveal that, compared with recitation, chanting demonstrates a slower and more flexible rhythm, tends to follow the principle of “long level tones and short oblique tones”, and features a “pronounced dragging tone” phenomenon (especially at the end of lines). The research aims to uncover the musical characteristics of chanting and its intrinsic connection to emotional expression, while attempting to summarize general patterns that may serve as a scientific foundation for the preservation and teaching of traditional Chinese poetic chanting. In the context of globalization, the protection and inheritance of “Chinese Chanting” (Zhonghua Yin-song), an element of intangible cultural heritage, holds significant cultural value. This study seeks to provide an analytical paradigm grounded in objective data rather than subjective perception for recitation, contributing to the establishment of a more systematic and accessible method for chanting instruction, and addressing current challenges such as limited dissemination channels and fragmented educational resources.