本文選題：昌黎民歌　切入點(diǎn)：風(fēng)格　出處：《河北大學(xué)》2009年碩士論文　論文類型：學(xué)位論文

【摘要】：昌黎是文化大縣,是昌黎民歌的主要棲息地,1998年被文化部命名為全國(guó)民歌之鄉(xiāng),2008年昌黎民歌又被認(rèn)定為第二批國(guó)家級(jí)非物質(zhì)文化遺產(chǎn)。現(xiàn)在能夠收集整理到的昌黎民歌共有近200首,以鄉(xiāng)間小調(diào)和勞動(dòng)號(hào)子居多,內(nèi)容分為生產(chǎn)勞動(dòng)、故事傳說(shuō)、愛(ài)情婚姻、日常生活、風(fēng)俗習(xí)慣和抗日民歌等六大類,演唱形式包括秧歌調(diào)、單口唱和對(duì)口篇三種。 昌黎民歌囊括了宮、商、角、徵、羽等各類五聲調(diào)式,以徵調(diào)式居多,其中宮調(diào)式、徵調(diào)式歌曲色彩明亮,符合漢族民歌的一般規(guī)律,而羽調(diào)式、角調(diào)式民歌色彩也較明亮,不符合漢族民歌的常態(tài),商調(diào)式民歌色彩則較中庸。昌黎民歌的曲式多為四句結(jié)構(gòu)的一段體,最常用的音組是“2 7 6”,其歌詞結(jié)構(gòu)符合漢民歌的一般規(guī)律,襯字、襯句運(yùn)用較多。 昌黎民歌在演唱實(shí)踐中用自己獨(dú)特的語(yǔ)言概括出了許多傳統(tǒng)聲樂(lè)理論,如氣息方面的：“胸圍腰背八分滿”、“氣口安排好,呼吸有分寸”、“大換氣,小偷氣,不蠻喊,留余地”等；咬字吐字方面的：“吐字如釘,行腔如云”、“快要有字,慢要有味”、“快而不亂,慢而不斷”等,通過(guò)倚音、滑音等解決了“倒字”問(wèn)題。昌黎民歌在歌唱中側(cè)重“高位,靠前,明亮,集中”的上部共鳴,對(duì)登臺(tái)亮相、聲音處理、動(dòng)作處理、歌唱速度、歌唱強(qiáng)弱等都有很好的理論總結(jié)。 昌黎民歌的潤(rùn)腔方法豐富多彩,利用聲音的連斷、音色的變化、以及一些技巧性的潤(rùn)腔方法(如卷舌音、嘟嚕音、滑音、顫音和倚音、重尾音和速度、力度的變化等),增強(qiáng)了地方民歌藝術(shù)的濃郁鄉(xiāng)土氣息。 遺憾的是,昌黎民歌正在淡出昌黎百姓的生活。筆者希望能夠通過(guò)地方政府職能部門擔(dān)負(fù)起責(zé)任,充分發(fā)揮聲像傳媒、學(xué)校教育的巨大作用,并注重對(duì)昌黎民歌演唱方法的傳承,實(shí)現(xiàn)昌黎民歌的健康發(fā)展。
[Abstract]:Changli is a big cultural county. Changli folk song is the main habitat of Changli folk songs. In 1998, it was named as the hometown of national folk songs by the Ministry of Culture. In 2008, Changli folk songs were recognized as the second batch of national intangible cultural heritage. There are now nearly 200 Changli folk songs that can be collected and collated. It is divided into six categories: production labor, story and legend, love and marriage, daily life, custom and anti-Japanese folk song. The singing forms include Yangge tune, single singing and counterpart song. Changli folk songs include various kinds of five tones, such as palace, Shang, angle, sign, feather and so on. Most of them are tone style. Among them, palace tone type, tone style song color is bright, accord with the general rule of Han nationality folk song, and plume style, angle mode folk song color is also bright. It is not in accordance with the normal state of Han folk songs, but the color of commercial folk songs is more moderate. Changli folk songs are mostly composed of a four-sentence structure, and the most commonly used group is "27.6". Its lyric structure is in line with the general rules of Han folk songs. Changli folk song has summarized many traditional vocal music theories with its own unique language in singing practice, such as breath: "chest, waist, back, eight points full", "air mouth arrangement, breathing is measured", "big breath, thief's anger, not quite shouting, leaving room", etc. Pronunciation of characters: "spelling such as nail, line like a cloud", "about to have words, slow to taste", "fast and not chaotic, slow and constant," and so on, through the sound, slippery tone and so on to solve the problem of "inverted characters." Changli folk songs in the singing emphasis on "high, forward," Bright, concentrated "upper resonance, for the stage appearance, sound processing, action processing, singing speed, singing strong and weak have a good theoretical summary." Changli folk songs have rich and varied methods of moistening, making use of the continuity of sound, the change of tone color, as well as some technical methods (such as rolling, purring, sliding, tremulating and leaning, heavy tail and speed, etc.). The change of dynamics and so on has strengthened the local folk song art rich local flavor. Unfortunately, Changli folk songs are fading out of the lives of ordinary people in Changli. The author hopes to be able to take responsibility through local government functions and give full play to the great role of audiovisual media and school education. And pays attention to the Changli folk song singing method inheritance, realizes the Changli folk song healthy development.
【學(xué)位授予單位】：河北大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2009
【分類號(hào)】：J607

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