本文選題：碰撞　切入點：交融　出處：《內(nèi)蒙古師范大學》2004年碩士論文　論文類型：學位論文

【摘要】：蒙漢調(diào)是產(chǎn)生并流行于內(nèi)蒙古自治區(qū)西部鄂爾多斯一帶的一個地方歌種，是蒙漢人民在長期的共同生產(chǎn)、共同生活中，兩種文明發(fā)生碰撞交融而產(chǎn)生的，為兩民族共享的，兼具兩民族文化特色的民歌形式。蒙漢調(diào)這一稱謂是對歌種最準確、最精煉的概括總結(jié)。在內(nèi)蒙古鄂爾多斯地區(qū)，蒙漢文明的碰撞、交融同其他任何地區(qū)、任何形式的文化現(xiàn)象一樣，都是與所處歷史時期的政治、經(jīng)濟背景密切相關(guān)。蒙古民族具有優(yōu)良的文化傳統(tǒng)，是“社會生活音樂化程度最高的一個民族”，在晉西北、陜北與內(nèi)蒙古的鄂爾多斯地區(qū)，蒙漢文明年復一年地通過“走西口”得以溝通，繼而產(chǎn)生了獨具特色的“走西口”文化。 蒙古族的民歌數(shù)量眾多，品位高雅，蒙古族人民更是具有特殊的音樂愛好和將音樂活動與生產(chǎn)生活緊密結(jié)合的傳統(tǒng)習俗。與內(nèi)蒙古南部毗鄰的秦晉地區(qū)自古人杰地靈，文化傳統(tǒng)源遠流長，以信天游、山曲為代表的民歌形式更是獨具特色。蒙漢調(diào)即是這兩種不同音樂文化碰撞與交融的產(chǎn)物的。 “風攪雪”是蒙漢調(diào)最根本的藝術(shù)特征，原是當?shù)厝嗣駥γ蓾h調(diào)演唱過程中蒙漢語結(jié)合使用、蒙漢語交加這一演唱形式的比喻性稱謂。蒙漢調(diào)的音樂部分基本保持了鄂爾多斯蒙古族短調(diào)民歌(包古尼道)的原貌，蒙漢調(diào)的歌詞主要依照流行于山西、陜西的信天游與山曲的格律即興創(chuàng)作。蒙漢調(diào)的藝術(shù)特征是通過結(jié)合蒙漢兩個民族的音樂風格而存在，它不是一種簡單的堆砌與疊加，而是巧妙的以共性為 紐帶融合了蒙漢兩個民族音樂的個性，， 蒙漢調(diào)深厚的民間基礎(chǔ)保證了其長久的生命力。內(nèi)蒙古鄂爾多斯 地區(qū)的群眾都將蒙漢調(diào)演唱視作其中必不可少的一個部分，蒙漢人民 從多方面將蒙漢調(diào)融入其日常生活。但從整體趨勢分析，仍要加強對 其的保護。
[Abstract]:The Mongolian and Han tune is a local song species produced and popular in the Ordos area of the western part of Inner Mongolia Autonomous region. It is produced by the collision and blending of the two civilizations in the long-term joint production and common life of the Mongolian and Han peoples, and shared by the two nationalities. A form of folk song with the cultural characteristics of the two nationalities. The title of the Mongolian and Han tune is the most accurate and concise summary of the songs. In the Ordos region of Inner Mongolia, the collision of Mongolian and Han civilizations blends with any other region. Like any form of cultural phenomenon, it is closely related to the political and economic background of the historical period. The Mongolian nation has a fine cultural tradition and is "a nation with the highest degree of musicalization in social life." In northern Shaanxi and Ordos region of Inner Mongolia, the Mongolian and Han civilization communicated year after year through "walking the west mouth", and then produced the unique culture of "walking the west mouth". The Mongolian folk songs are numerous and elegant, and the Mongolian people have a special musical hobby and a traditional custom of closely combining music activities with production and life. The Qin Jin region adjacent to the south of Inner Mongolia has been outstanding since ancient times. The cultural tradition has a long history, and the folk songs represented by Xintian Tour and Shan qu are unique. The Mongolian and Han tune is the product of the collision and blending of these two different musical cultures. "Wind stirring snow" is the most fundamental artistic feature of Mongolian and Han tune. It was originally used by the local people in the process of singing Mongolian and Chinese tunes. The music part of the Mongolian and Han tune basically kept the original appearance of the Mongolian folk song (Baogunidao) in Ordos, and the lyrics of the Mongolian tune were mainly based on the popular in Shanxi. The artistic characteristics of Mongolian and Han tune exist through the combination of the music style of the two peoples, it is not a simple stack and superposition, but ingenious in the common. The tie combines the individuality of Mongolian and Han folk music, The deep folk foundation of the Mongolian and Han dynasties ensures its long-term vitality. Erdos, Inner Mongolia. The people of the region regard the Mongolian and Han singing as an indispensable part of it, the Mongolian and the Han people. It is necessary to integrate Mongolian and Han tune into their daily life in many ways. However, from the overall trend analysis, we still need to strengthen the. Its protection
【學位授予單位】：內(nèi)蒙古師范大學
【學位級別】：碩士
【學位授予年份】：2004
【分類號】：J607

【引證文獻】

相關(guān)博士學位論文 前1條

1 楊瓊;論近代漠南蒙漢移民音樂[D];中央民族大學;2012年

相關(guān)碩士學位論文 前1條

1 付培;內(nèi)蒙古準格爾旗漫瀚調(diào)傳承變異調(diào)查研究[D];西北民族大學;2011年

本文編號：1579869