發(fā)布時間：2018-05-23 20:02

  本文選題：湖南民歌 + 合唱作品��； 參考：《湖南師范大學》2003年碩士論文

【摘要】： 湖南民歌，源遠流長，浩如煙海。各民族、各地區(qū)都具有自己獨特的風格�，F(xiàn)代意義上的中國合唱藝術(shù)，至今僅有一百年左右的歷史。而根據(jù)湖南民歌音調(diào)創(chuàng)作或改編成多聲性的合唱作品，則是上世紀30年代才開始萌芽。通過幾代作曲家的不斷探索，已經(jīng)創(chuàng)作出了一批批極有影響的合唱作品。 本文是分湖南漢族民歌和湖南少數(shù)民族民歌兩大部分來討論其代表性的創(chuàng)作或改編的合唱作品(以下簡稱漢族合唱作品和少數(shù)民族合唱作品)。而漢族合唱作品和少數(shù)民族合唱作品又分別是以域性(地域性)和族性(民族性)來展開的。在展開時，基本是基于一條相同的思路：先對其獨具特色的音調(diào)予以概括性的論述，再主要以其代表性的合唱作品來進行分析。 如同我國民族居住特點一樣，湖南漢民族人多域廣，而湖南少數(shù)民族地廣人稀。根據(jù)漢族民歌中最能體現(xiàn)地方性風格特點和音調(diào)結(jié)構(gòu)的勞動號子、山歌、小調(diào)等歌種的比較，及漢族各地區(qū)方言的差異性，把湖南漢族民歌按地域分為湘中、湘東、湘西、湘南四個民歌色彩區(qū)。少數(shù)民族，則主要以人口多少，同時也是以已經(jīng)發(fā)掘和整理的民歌、民間音調(diào)數(shù)量較多且較為完善的土家族、苗族、侗族、瑤族來概括和討論。 湖南民歌及民歌音調(diào)創(chuàng)作和改編的合唱作品，，應(yīng)立足于中國傳統(tǒng)音樂體系，根植于原民歌中的音調(diào)特性和內(nèi)在神韻，依據(jù)中國傳統(tǒng)音樂的創(chuàng)作規(guī)律，適當借鑒西洋作曲技法來進行創(chuàng)編，從多角度挖掘出中國傳統(tǒng)音樂的精髓，這就需要我們：一方面，要傳承我們的民族音樂，并弘揚它。另一方面，要在原民歌的基礎(chǔ)上展開立體性思維，吸納國外先進的創(chuàng)作手法，更充分地展示我國民族、民間音樂的藝術(shù)魅力。
[Abstract]:Hunan folk songs, a long history, the vast sea. Each nationality, each region has its own unique style. Chinese choral art in the modern sense is only about a hundred years old. However, according to Hunan folk song tone creation or adaptation into polyphonic choral works, it began to sprout in the 1930s. Through the continuous exploration of several generations of composers, a lot of influential choral works have been created. This paper is divided into Hunan Han folk songs and Hunan minority folk songs to discuss their representative creation or adaptation of chorus works (hereinafter referred to as Han chorus works and minority chorus works). The Han nationality chorus works and the minority chorus works are carried out in the regional (regional) and ethnic (national) respectively. In the process of development, it is based on the same idea: first give a general discussion of its unique tone, and then analyze it mainly by its representative choral works. As in our country, the Han nationality in Hunan has a wide range of people, while the minority nationalities in Hunan are rare. According to the comparison of the labor number, folk song, minor tune and so on, which can best reflect the local style and the tone structure of the Han folk songs, and the differences in the dialects of the Han nationality, the Han folk songs in Hunan are divided into the central Hunan, the eastern Hunan and the western Hunan according to the region. Four color areas of Hunan folk songs. The ethnic minorities, on the other hand, are summarized and discussed mainly by the population, but also by the folk songs which have been discovered and sorted out, and which have more and more perfect folk tones, such as Tujia, Miao, Dong and Yao. Hunan folk song and folk song tone creation and adaptation should be based on the Chinese traditional music system, rooted in the original folk song tone characteristics and inherent charm, according to the law of Chinese traditional music creation. Drawing on Western composing techniques properly to create and compile, excavating the essence of Chinese traditional music from many angles, this needs us: on the one hand, to inherit our national music, and carry it forward. On the other hand, it is necessary to develop three-dimensional thinking on the basis of the original folk songs, absorb advanced creative techniques from abroad, and more fully display the artistic charm of Chinese national and folk music.
【學位授予單位】：湖南師范大學
【學位級別】：碩士
【學位授予年份】：2003
【分類號】：J607

【引證文獻】

相關(guān)碩士學位論文 前1條

1 孫斐;陜北民歌合唱作品研究[D];陜西師范大學;2011年

本文編號：1926138