發(fā)布時間：2018-03-28 07:23

  本文選題：漫瀚調(diào)　切入點(diǎn)：文化融合　出處：《沈陽師范大學(xué)》2017年碩士論文

【摘要】：漫瀚調(diào)是產(chǎn)生并流行于內(nèi)蒙古西部鄂爾多斯一帶的一種民歌形式,它是在特定的歷史條件下,蒙漢兩族人民長期共同生產(chǎn)、生活的產(chǎn)物,是兩族人民共同創(chuàng)造的、融合了蒙漢兩個民族文化特色的地方歌種,是蒙漢人民情感智慧的結(jié)晶。蒙漢文明的碰撞、交融與其所處歷史時期的地理、社會、經(jīng)濟(jì)、文化背景密切相關(guān)。鄂爾多斯高原享有民間藝術(shù)的“歌海舞鄉(xiāng)”之美譽(yù),蒙古族民歌更是數(shù)量繁多,品位高雅。與內(nèi)蒙古毗鄰的秦、晉地區(qū)文化傳統(tǒng)源遠(yuǎn)流長,最具代表性的民歌形式山曲兒和信天游更是獨(dú)具特色。就是在這樣兼容并蓄的環(huán)境下,兼具了兩族音樂文化特點(diǎn)的漫瀚調(diào)應(yīng)運(yùn)而生。漫瀚調(diào)的曲式、旋律、節(jié)奏、調(diào)式、伴奏、唱詞及演唱風(fēng)格等都具有其獨(dú)特的藝術(shù)特征。漫瀚調(diào)的曲式多結(jié)構(gòu)較為規(guī)整,一般由兩句或四句的方整性樂段構(gòu)成;旋律主要以蒙古族短調(diào)民歌為根基;節(jié)奏較為鮮明,多用切分附點(diǎn)音符,二拍子或四拍子最為常見;調(diào)式多由五聲音階構(gòu)成,變聲使用極少;伴奏樂器主要有蒙古族的四胡及漢族的梅和揚(yáng)琴,現(xiàn)代逐漸出現(xiàn)了電子琴和手風(fēng)琴等伴奏樂器;唱詞多運(yùn)用賦、比、興的手法,尾綴中較多使用襯詞,句中常出現(xiàn)疊詞,較多運(yùn)用方言以及獨(dú)特的“風(fēng)攪雪”;演唱多男女對唱形式,其語言屬晉、陜西部方言,演唱方法為典型的原生態(tài)唱法,聲腔也以男女同腔最具特色,演唱時主要運(yùn)用丹田氣,演唱中的咬字及氣息的運(yùn)用對歌曲情感的表達(dá)極為重要。漫瀚調(diào)是蒙、漢兩族人民在政治、經(jīng)濟(jì)、文化等諸多方面相互滲透、相互影響的產(chǎn)物,體現(xiàn)了蒙、漢人民水乳交融的深厚情誼。因此,漫瀚調(diào)不僅具有極高的藝術(shù)價值,還蘊(yùn)含著深厚的文化根基。
[Abstract]:Manhandiao is a form of folk song produced and popular in the Ordos area of western Inner Mongolia. It is the product of the long-term joint production and living of the Mongolian and Han peoples under the specific historical conditions, and it was created jointly by the two peoples. It is the crystallization of the emotional wisdom of the Mongolian and Han peoples. The collision of Mongolian and Chinese civilization and the geography, society and economy of the historical period in which they live, Cultural background is closely related. Ordos Plateau enjoys the reputation of "Song Hai Dance Township" of folk art, and Mongolian folk songs are more numerous and elegant. The cultural tradition of Qin and Jin regions, adjacent to Inner Mongolia, has a long history. The most representative forms of folk songs, Shan qu and Xin Tian you, are even more unique. It is in such an all-embracing environment that Man Han's tune, which has the characteristics of both peoples' music and culture, came into being. The melodies, melodies, rhythms, tunes, and accompaniment of Man Han's tune come into being. Singing words and singing style have their own unique artistic characteristics. Manhandi's multi-structure is more regular, generally composed of two or four sentences of square and integral music; the melody is mainly based on Mongolian folk songs; the rhythm is relatively bright. The most common is the second or fourth beat; the tone is mostly composed of five scales, with few variations used; and the accompaniment instruments are mainly Mongolian Sihu and Han's plum and yangqin. Modern music instruments such as electronic organ and accordion have gradually appeared. The singing words are more often used in Fu than in Xing, and in suffixes they are more often used in contrast words, and in sentences they are often duplicated. More use of dialect and unique "wind stir snow"; singing more than men and women singing form, its language belongs to Jin, Shaanxi dialect, singing method is a typical original singing method, the voice is also male and female with the most characteristics of the same cavity, the main use of Dantian air when singing, The use of words and breath in singing is very important to the expression of song emotion. Manhantai is the product of the mutual penetration and influence of the people of the Han nationality in politics, economy, culture and so on. Therefore, Man Han tune not only has the extremely high artistic value, but also contains the profound cultural foundation.
【學(xué)位授予單位】：沈陽師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2017
【分類號】：J607

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