本文選題：那策格道爾基　切入點(diǎn)：呼麥　出處：《中央民族大學(xué)》2012年碩士論文

【摘要】：2010年我有幸得到老師支持,并經(jīng)過學(xué)校審核,順利通過本�！�211”出國訪學(xué)項(xiàng)目赴蒙古國文化藝術(shù)大學(xué)音樂學(xué)院學(xué)習(xí)一年。我初到那時(shí),當(dāng)?shù)匾魳芳覅f(xié)會為紀(jì)念剛辭世不久的那策格道爾吉老師舉行為期一周的“那策格道爾吉一生的音樂之路”學(xué)術(shù)研討會,我也是在此研討會后開始關(guān)注這位老師,并決定了畢業(yè)論文的取材方向。 那策格道爾吉(1951年一2010年),蒙古國作曲家,曾任蒙古國歌劇院院長、蒙古國音樂家協(xié)會會長、蒙古國文化藝術(shù)大學(xué)教授。他一生寫過5部交響樂,5部歌劇、2部舞劇、14首協(xié)奏曲,15首室內(nèi)樂作品、18首電影、戲劇音樂,12首藝術(shù)歌曲。《呼麥,馬頭琴與管弦樂協(xié)奏曲》是作者那策格道爾基2007年完成并由蒙古國文化藝術(shù)大學(xué)呼麥,馬頭琴老師鐵木真(п.гзмуужин)與蒙古國交響樂團(tuán)首演于烏蘭巴托。做為蒙古國歷史上第一部呼麥,馬頭琴與管弦樂協(xié)奏曲,在當(dāng)?shù)匾鹆瞬恍〉霓Z動,也填補(bǔ)了世界蒙古族音樂關(guān)于這種創(chuàng)作表演形式的空白。 本文基于對《呼麥,馬頭琴與管弦樂協(xié)奏曲》本體的研究,具體采用文獻(xiàn)資料法、比較法、田野調(diào)查法、個別訪談法,綜合分析法來探索作者在本作品中的民族作曲技法和作曲理念。本文總體分為兩大部分：第一部分為第一章蒙古國音樂簡介,筆者從蒙古國音樂發(fā)展歷史、蒙古國呼麥、蒙古國馬頭琴、蒙古國當(dāng)代作曲家作品概況四方面來具體介紹蒙古國音樂；第二部分則為本文的研究對象那策格道爾基《呼麥、馬頭琴與管弦樂協(xié)奏曲》的具體介紹與分析。本部分分為兩章,第一章為《呼麥、馬頭琴與管弦樂協(xié)奏曲》的介紹,筆者從曲作者的生平簡介、創(chuàng)作背景以及此作品的藝術(shù)風(fēng)格特征與創(chuàng)作意義三點(diǎn)從“面”的方向?qū)⑵浣榻B給讀者,使讀者對此協(xié)奏曲能夠有整體的認(rèn)識。第二章為《呼麥、馬頭琴與管弦樂協(xié)奏曲》的作品曲式及技法分析,本章綜合曲式結(jié)構(gòu)、旋律特征、和聲分析以及配器技法四方面從“點(diǎn)”的方面來具體剖析這部協(xié)奏曲,將其民族作曲技法和作曲理念一一分析出來。在第二部分中,筆者不僅單一的分析該作品的特點(diǎn),還將此協(xié)奏曲與該作者的其他作品以及蒙古國其他當(dāng)代作曲家們的馬頭琴作品做以對比分析,從而突出本文的研究對象那策格道爾基的這首協(xié)奏曲的寫作風(fēng)格與特點(diǎn)。 本文力求從本作品的背景,演奏形式,和聲,配器等多方面進(jìn)行研究,為分析蒙古國現(xiàn)代作曲家的管弦樂創(chuàng)作作品的論文予以補(bǔ)充,更重要的是,希望我們能在保護(hù)和傳承自己民族文化藝術(shù)的基礎(chǔ)上多創(chuàng)新,做出自己的風(fēng)格,走出自己的道路,使我們的民族音樂藝術(shù)更加專業(yè)化,國際化。
[Abstract]:In 2010, I had the honor of receiving support from my teachers, and after being approved by the school, I went to the Conservatory of Music of Mongolia University of Culture and Art for a year through the "211" program of visiting abroad. At that time, I arrived at that time. The local musicians' association held a week-long symposium on "the Road to Music in the Life of Natsagorge" to commemorate the recent death of teacher Natesgerjee, and it was after this seminar that I began to pay attention to this teacher. And decided the selection direction of graduation thesis. Natse Gordolgi (1951-2010), composer of Mongolia, former president of Mongolian opera house, president of Mongolian musicians association, Professor of Mongolian University of Culture and Art. He wrote 5 symphonies, 5 operas, 2 dance dramas, 14 concertos, 15 chamber music, 18 films, 12 dramatic music, 12 art songs. "Concerto for Matou and Orchestra" was first performed in Ulaanbaatar by author Natsegradalki in 2007 and was first performed by Humi, a teacher of the Mongolian University of Culture and Art, and the Mongolian Symphony Orchestra, as the first Humai in the history of Mongolia. Matou piano and orchestral concerto caused a stir in the local area, but also filled the world Mongolian music about this form of creative performance blank. Based on the Noumenon of "Homei, Horsehead and Orchestra Concerto", this paper adopts the methods of literature, comparison, field investigation, individual interview, etc. This paper is divided into two parts: the first part is the introduction of Mongolian music in the first chapter. Mongolian Matou Qin, Mongolian contemporary composer works in four aspects of the specific introduction to Mongolian music; the second part is the research object of this article, Natesegorgi < Homei, This part is divided into two chapters. The first chapter is the introduction of "Humai, Matou Qin and Orchestra Concerto". The background, artistic style and significance of this work are introduced to the reader from the direction of "face", so that the reader can have an overall understanding of the concerto. An Analysis of the composition and techniques of the Concerto of Horsehead and Orchestra. This chapter analyzes the Concerto from the aspects of "dot" from four aspects: the structure of the composition, the characteristics of the melody, the analysis of harmony and the techniques of the orchestration. In the second part, the author not only analyzes the characteristics of the work, but also analyzes the characteristics of the work. In addition, the Concerto is compared with other works of the author and other contemporary Mongolian composers' works of the Matou piano, so as to highlight the writing style and characteristics of the concerto by Natse Gordolki, the object of this paper. This paper tries to study the background, performance form, harmony, orchestration and other aspects of this work, so as to supplement the analysis of modern Mongolian composers' orchestral works, and more importantly, I hope we can create more on the basis of protecting and inheriting our own national culture and art, make our own style, go out of our own way, make our national music art more specialized and internationalized.
【學(xué)位授予單位】：中央民族大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2012
【分類號】：J614

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本文編號：1670459