本文關(guān)鍵詞： 客家箏 流派形成 何育齋 羅九香 大埔　出處：《中國(guó)藝術(shù)研究院》2009年碩士論文　論文類型：學(xué)位論文

【摘要】： “客家箏”是我國(guó)主要傳統(tǒng)箏派之一,形成于20世紀(jì)中葉。促使客家地區(qū)的箏樂(lè)形成流派的原因是多方面的,本論文選擇音樂(lè)本源、歷史、地理、文化、時(shí)代背景、代表人物、美學(xué)觀念等7個(gè)方面,以大量材料為依據(jù),詳細(xì)梳理和考證了它們對(duì)“客家箏”形成所起的作用。 本論文共9節(jié),可歸結(jié)為4個(gè)層次, 第一層為樂(lè)學(xué)淵源考,包括論文第一節(jié),主要采用比較的方法,從樂(lè)學(xué)上分析廣東漢樂(lè)絲弦樂(lè)、大埔戲劇音樂(lè)和民間小調(diào)與“客家箏”的淵源關(guān)系。 第二層為社會(huì)人文動(dòng)因考,包括論文第二、三、四、五節(jié),深入剖析了“客家箏”的產(chǎn)生與歷史、地理、文化、時(shí)代等社會(huì)人文諸要素之間密不可分的聯(lián)系。 第三層為人物考,包括論文第六、七、八節(jié),重點(diǎn)研究了何育齋、羅九香對(duì)“客家箏”形成的主要貢獻(xiàn),梳理了1950年以前大埔箏樂(lè)傳承脈絡(luò)。 第四層為美學(xué)思想考,包括論文第九節(jié),本節(jié)先分析“客家箏”與其它傳統(tǒng)箏派風(fēng)格之差異,進(jìn)而探討導(dǎo)致“客家箏”風(fēng)格獨(dú)特的最重要原因在于其審美追求的與眾不同。
[Abstract]:"Hakka Zheng" is one of the main traditional Zheng schools in China, which was formed in the middle of 20th century. There are many reasons for promoting the formation of Zheng music in Hakka areas. This paper chooses the origin, history, geography, culture, background and representative figures of music. Based on a large number of materials, seven aspects such as aesthetic concepts have been combed out and studied in detail, which have played an important role in the formation of Hakka Zheng. There are 9 sections in this paper, which can be divided into four levels. The first level is the origin examination of music study, including the first section of the thesis. It mainly uses comparative method to analyze the relationship between Han Yue Si string music, Tai Po drama music and folk minor and Hakka Zheng from the point of view of music science. The second level is the examination of social and humanistic motivation, including the second, third, fourth and fifth sections of the thesis, which deeply analyzes the close relationship between the emergence of Hakka Zheng and the social and humanistic elements such as history, geography, culture, times and so on. The third layer is the study of characters, including 6th, 7 and 8, focusing on the main contributions of he Yuzhai and Luo Jiuxiang to the formation of Hakka Zheng, and combing the context of Tai Po Zheng music inheritance before 1950. This section first analyzes the differences between Hakka Zheng and other traditional Zheng styles, and then discusses the most important reason for the unique style of Hakka Zheng is the distinctive aesthetic pursuit.
【學(xué)位授予單位】：中國(guó)藝術(shù)研究院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2009
【分類號(hào)】：J632.32

【引證文獻(xiàn)】

相關(guān)期刊論文 前1條

1 曾璐瑩;馬達(dá);;大埔廣東漢樂(lè)的活態(tài)存在與傳承中的文化自覺(jué)——大埔廣東漢樂(lè)田野考察報(bào)告[J];人民音樂(lè);2012年08期

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本文編號(hào)：1536517