Paghjella是科西嘉岛的一种传统男子歌唱形式。它结合了三种声区,始终按照同一种顺序演唱歌曲:一开始是segonda,起调并确定歌曲的主旋律;接着是bassu,伴随主旋律并加以烘托;最后是terza,歌曲的部分,用以丰富歌曲的内容。Paghjella 大量使用回声,可用科西嘉语、撒丁语、拉丁语和希腊语等多种语言清唱。Paghjella既是一种世俗的、又是一种礼拜式的口头传统,人们会在节日、社交和宗教场合表演:酒吧里或村庄的广场上、做礼拜时、时及农展会期间。Paghjella的主要传播方式是口头传播,主要途径是观察、倾听、模仿和融会贯通。一开始,Paghjella是男孩日常礼拜仪式的一部分,对青春期男孩而言,则通过当地教会的合唱团传播。由于年轻一代人移居外地,Paghjella曲目匮乏,世代相传的做法急剧减少,所以,尽管表演艺术家们一直在努力使Paghjella曲目恢复生机, paghjella歌曲还是渐渐失去了活力。如不采取行动,paghjella歌曲将停滞不前,仅以现有形式继续存在,即只能作为一种旅游产品存留下来,而失去了赋予其实际意义的社会联系。

Paghjella is a traditional form of mens singing in Corse. It combines three sound zones, always singing songs in the same order: At first it was segonda, tuning and determining the main melody of the song; then Bassu, accompanied by the main melody and baked; and finally Terza, the climax of the song, to enrich the content of the song. Paghjella uses echoes in large numbers and can be sang in a variety of languages, including Corsica, Sardinia, Latin and Greek. Paghjella is both a secular and a liturgical oral tradition that can be performed on festive, social and religious occasions: in bars or village squares, in worship, during parades, and during agricultural exhibitions. The main mode of transmission of Paghjella is verbal communication, the main way is to observe, listen, imitate and integrate. At first, Paghjella was part of the boys daily service, and for adolescent boys, it was spread through the choir of the local church. As the younger generation emigrated, the Paghjella tracks were scarce and the practice of intergenerational generations decreased dramatically, the Paghjella songs gradually lost their vitality, despite the efforts of performing artists to bring the Paghjella track back to life. If no action is taken, the Paghjella song will stagnate and continue to exist only in its current form, that is, it can only remain as a tourist product and lose the social ties that give it practical meaning.


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