本文選題：中國傳統(tǒng)唱論 + 歷史觀照�。� 參考：《陜西師范大學》2004年碩士論文

【摘要】：本文以中國傳統(tǒng)唱論作為研究對象，運用邏輯與歷史相一致的方法和原則，從縱橫兩個方面對中國傳統(tǒng)唱論的生成背景、歷史發(fā)展、內涵及其現實價值進行了初步的研究。從橫向看，作為中國文化的瑰寶，傳統(tǒng)唱論受到其生成背景及發(fā)展階段的影響，使得它自生具有多元化與包容性的特點。從縱向看，傳統(tǒng)唱論是針對中國聲樂藝術而研究的具體而又實用的理論。通過本文的研究工作，筆者認為，一方面可以使中國傳統(tǒng)唱論能更多地得到世人的關注，另一方面也可以推進對中國傳統(tǒng)唱論的研究。 本論文分為兩部分： 第一部分論述傳統(tǒng)唱論的生成背景及其發(fā)展階段。本章從兩個層面闡述了中國傳統(tǒng)唱論的形成和發(fā)展狀況。 首先，中國傳統(tǒng)唱論的生成背景從三個方面對傳統(tǒng)唱論的生成和發(fā)展進行了探討。第一，自然生存環(huán)境從兩點闡述了中國傳統(tǒng)唱論生成于以農業(yè)文明為基礎的自然環(huán)境。(1) 農業(yè)生產孕育了具有濃厚自然風情的中國傳統(tǒng)唱論。(2)“天人合一”的美學思想賦予中國傳統(tǒng)唱論以自然為美，“漸進自然”的美學思想；第二、人文生存環(huán)境從三點論述中國傳統(tǒng)唱論生成于一個多元化的文化氛圍。(1) 太極圖作為中國傳統(tǒng)的圖騰意識，它的多元化與包容性特點影響了傳統(tǒng)唱論賴以生存的民歌、曲藝及戲曲三大音樂形式。(2)宗教文化以佛、道、儒為基礎的多元化宗教格局，影響了傳統(tǒng)唱論中的歌唱審美觀。(3) 禮樂觀念賦予中國唱論“發(fā)乎情，止乎禮義”的美學觀�？傊嘣娜宋纳姝h(huán)境成就了兼容并包的傳統(tǒng)唱論；第三，學者主體從歌唱家與唱論的關系、政治歷史背景對唱論的影響，闡述了中國傳統(tǒng)唱論的承載群體表現為學者主體的特點，并帶有文藝學色彩。 其次，中國傳統(tǒng)唱論的發(fā)展階段從三個方面勾勒了傳統(tǒng)唱論曲折、遞進的發(fā)展歷程。第一，唐宋前的唱論，唐宋前的唱論處于孕育期階段，傾向于藝術形態(tài)和審美感知結果的描述，其論及范疇較廣，且較為零散；第二，唐宋唱論，唐宋唱論處于崛起期階段，其論及內容趨于科學和具體；第三，唐宋后的唱論，唐宋后至清代以前的唱論處于繁榮期階段，不但對實踐進行了總結，還借鑒了音韻學理論，規(guī)范演唱技巧，同時還針對不同音樂風格的品種需要，撰寫論著。這時期的著作立論針對性強、具體化、實用性高。 傳統(tǒng)唱論的生成背景及其發(fā)展階段孕育了博大精深的唱論藝術，它是我們客觀 認識傳統(tǒng)唱論原貌及其現實價值的基礎。 第二部分論述中國傳統(tǒng)唱論的內涵及其現實價值。這一部分從四個方面研究了 傳統(tǒng)唱論的歌唱語言、潤腔、呼吸、曲情意蘊的內涵及其現實價值。第一，關于 歌唱語言，從“五音”、“四呼”和歌唱的字聲相諧兩方面結合現代聲樂藝術，論 證了傳統(tǒng)唱論是實事求是的理論，是聲樂藝術進入歌唱完美境界的奠基石。它從 實際出發(fā)總結出地適合歌唱語言的理論，揭示了歌唱吐字發(fā)音的奧秘，在一定程 度上調和了“字正”“腔圓”的矛盾，并為我們診釋作品內涵、表情達意奠定了基 礎;第二，關于歌唱潤腔，從傳統(tǒng)聲樂藝術中的潤腔和“尋聲依調”’與“循聲轉 腔”兩方面結合現代聲樂藝術，論證了“潤腔”是語言的升華，是我國聲樂藝術 獨特的演唱風格。“潤腔”藝術從語言聲調出發(fā)，協(xié)調“字”、“聲”矛盾，成就了 “字正腔圓”的潤腔風格，塑造出鮮明的音樂形象，是增強和豐富我國聲樂藝術 的表現力和感染力的重要構成要素;第三，關于歌唱呼吸，從“善歌者，必先調 其氣”和以情帶氣兩方面，論述了傳統(tǒng)唱論的特點及其在現代聲樂藝術中現實價 值�！吧聘枵�，必先調其氣”從“丹田氣”的運氣法、“氣”與歌唱諸因素的關系， 闡述了它與生理解剖學的聯(lián)系，，從而論證了它的科學性，及其在發(fā)展中國現代聲 樂藝術的可參考價值;以情帶氣，從“以情帶氣，氣形于聲”、“以情帶氣，氣 形于言”闡明了歌唱情感依附于氣息，及其對現代聲樂藝術的指導意義;第四， 關于曲情意蘊，從“解明曲情，意情相諧”、“技法得款，尤以情重”兩方面結合 現代聲樂作品，論述了傳統(tǒng)唱論歌唱情感的表達不僅需要解明歌曲的文詞意蘊， 還需要合理的運用技巧。因此提高歌者的綜合素養(yǎng)，是客觀而深入的診釋作品， 表達感情的重要因素。傳統(tǒng)唱論關于歌唱、潤腔、呼吸、曲情意蘊的內涵，不僅 引導了古代聲樂藝術的發(fā)展，而且對于現代的聲樂藝術的發(fā)展具有積極的指導意 義。
[Abstract]:This paper, taking Chinese traditional singing theory as the research object, uses the methods and principles consistent with history and history, makes a preliminary study on the generation background, historical development, connotation and practical value of Chinese traditional singing theory from two aspects and horizontally. From the horizontal perspective, as a gem of Chinese literary creation, the traditional singing theory is subjected to its generation background and development. The influence of the stage makes it pluralistic and inclusive. From the longitudinal perspective, the traditional singing theory is a concrete and practical theory to study Chinese vocal music. Through this study, the author thinks that, on the one hand, Chinese traditional singing theory can get more attention from the world, on the other hand, it can also be promoted. The study of Chinese traditional singing theory.
This paper is divided into two parts:
The first part discusses the background and development stages of traditional singing theory. This chapter expounds the formation and development of Chinese traditional singing theory from two levels.
First, the generation and development of traditional singing theory are discussed from three aspects. First, the natural living environment expounds the natural environment of Chinese traditional singing on the basis of agricultural civilization. (1) agricultural production has bred a Chinese traditional singing theory with a thick and natural atmosphere. (2) "heaven man". The aesthetic thought of "unity" endows Chinese traditional singing with the aesthetics of nature as beauty and "gradual nature"; second, the human living environment discusses the Chinese traditional singing theory from three points to a pluralistic cultural atmosphere. (1) Tai Chi as a totem of Chinese tradition, its diversity and inclusiveness influence the traditional singing theory. The folk songs on which they live, the three musical forms of music and opera. (2) the religious and cultural diversity based on Buddhism, Tao and Confucianism, affecting the aesthetic view of singing in the traditional singing theory. (3) the concept of rite and music endows China with the aesthetic view of "feeling of feeling, stopping the sense of etiquette and meaning". The traditional theory of singing; third, the subject of the scholar, from the relationship between the singer and the singing theory, the influence of the political and historical background to the theory of singing, expounds the characteristics of the carrying group of Chinese traditional singing theory as the subject of the scholar, with the color of literature and art.
Secondly, the development stage of Chinese traditional singing theory outlines the twists and turns of traditional singing theory in three aspects. First, the singing theory before the Tang and Song Dynasties, the singing theory before the Tang and Song Dynasties is in the stage of pregnancy, which tends to the description of the artistic form and aesthetic perception result, and its category is wider and more scattered; second, Tang and song singing theory, the Tang and song singing points In the stage of rising, its content tends to be scientific and concrete; third, the singing theory after the Tang and Song Dynasties, from the Tang and Song Dynasties to the Qing Dynasty is in the stage of prosperity, not only to summarize the practice, but also to draw lessons from the theory of phonology, to standardize the singing skills, and to write a book on the needs of the varieties of different musical styles. It is highly pertinent, specific and practical.
The background and stage of development of traditional singing theory have produced a profound and profound art of singing. It is our objective.
Recognize the foundation of traditional singing and its realistic value.
The second part discusses the connotation and realistic value of Chinese traditional singing theory, which is studied from four aspects.
The connotation and practical value of traditional singing theory, such as singing language, moistening cavity, breathing, and emotional implication.
From the two aspects of "five tones", "four calls" and the harmony of words in singing, the singing language combines modern vocal art.
The traditional singing theory is the theory of seeking truth from facts. It is the cornerstone of vocal music entering the perfect realm of singing.
In fact, it summarizes the theory of singing suitable for singing, and reveals the mystery of singing pronunciation.
The contradiction between the word "Zheng" and "the circle of the circle" is raised, which lays the foundation for us to interpret the connotation of the works and express their feelings.
Second, about singing tune cavity, from traditional vocal music art to "moistening cavity" and "seeking sounds according to tune" and "follow the sound".
The two aspects, combining modern vocal art, demonstrate that "moistening cavity" is the sublimation of language and the vocal music art of our country.
The unique singing style, "run cavity" art, starts from the tone of language, harmonizing the contradiction between "word" and "sound".
The style of "tune up" is a vivid musical image, which is to enhance and enrich our vocal music art.
Expressive force and important component of infectivity; third, about singing breathing, from "good singer", we must first tune.
Two aspects of "Qi" and "emotion" are introduced, and the characteristics of traditional singing theory and its realistic price in modern vocal art are discussed.
"Good singer must first adjust his Qi" from the "Dan Tian Qi" luck method, "Qi" and the relationship between singing factors.
This paper expounds its connection with physiological anatomy, and proves its scientificity and its development in modern Chinese voice.
The value of music art can be referenced; with emotion and breath, from "emotion to Qi, and Qi to sound", "with emotion and Qi, Qi".
"Form to speech" clarifies that singing emotion is attached to the breath and its guiding significance to modern vocal music art; fourth,
About the meaning of music, it combines the following two aspects: "clarify the emotion of the song, harmonizing the meaning and feeling", "get the money from the technique, especially the emotion".
In modern vocal music works, the expression of emotional expression in traditional singing theory is not only required to clarify the implication of songs.
It is also necessary to use reasonable skills. Therefore, improving the comprehensive quality of the singer is an objective and in-depth interpretation of the work.
The important factor of expressing feelings is the connotation of traditional singing theory about singing, moistening cavity, breathing, and emotional implication.
It has led the development of ancient vocal music, and has positive guidance for the development of modern vocal music.
Righteousness.
【學位授予單位】：陜西師范大學
【學位級別】：碩士
【學位授予年份】：2004
【分類號】：J609.2

【引證文獻】

相關博士學位論文 前1條

1 郭小青;《唱論》辨析[D];中國藝術研究院;2012年

相關碩士學位論文 前2條

1 趙開棟;《唱論》研究之研究[D];西北師范大學;2007年

2 周敏;對林俊卿“咽音”理論的內涵及其創(chuàng)新價值的思考[D];福建師范大學;2007年

本文編號：1961003