在中国传统音乐研究中,尽管在某些乐种的研究中对节奏的关注较多,但整体而言,节奏研究是一个薄弱的环节。论文基于笔者前期对中国锣鼓乐节奏结构的研究,把研究范围扩展到旋律音乐,就流传比较广泛的传统器乐乐曲、曲牌、民歌,以及传统音乐风格较浓厚的新创乐曲进行节奏结构分析。分析中总结出了“数列节奏型”和“拍数节奏型”两种模式,揭示出了中国传统音乐中节奏构成上“1、3、5、7”的“数列”和“拍数”特征,并就该特征与中国诗词音步与中国人的节奏心理建构之间的关系进行阐释。论文是此方面研究的初步尝试,随着分析范围的扩大,未来将进一步完善。

In the study of traditional Chinese music, although rhythm has received considerable attention in research on certain musical genres, it remains an underdeveloped area overall. Based on the author's previous research on rhythmic structures in Chinese percussion music, this paper expands the scope to melodic music, analyzing the rhythmic structures of prevalent traditional music pieces, as well as newly composed works that retain strong traditional musical styles. The analysis adopts two conceptual approaches—“numerical rhythmic patterns” and “beat-count rhythmic patterns”—to reveal the “numerical-sequence” and “poetric feet” characteristics represented by the 1, 3, 5, 7 progressions in the rhythmic construction of traditional Chinese music. The study further explains the relationship between these features and the metrical structure of Chinese poetry as well as the psychological formation of rhythm among Chinese people. This paper represents a preliminary attempt in this area of research; further expansion of the repertoire analyzed will lead to more comprehensive findings in the future.