【摘要】： 新化山歌是中華民歌中的一顆璀璨的明珠。新化的情歌是新化山歌中數(shù)量最多、生命力極強(qiáng)、極具特色的歌種。它歷史悠久、內(nèi)涵豐富、曲調(diào)多樣、音調(diào)悠揚(yáng)、音色純美、親切自然。本文從音樂(lè)學(xué)及民族聲樂(lè)理論的角度,對(duì)新化陶情山歌的音樂(lè)特征及演唱特色進(jìn)行了全面的研究,重點(diǎn)對(duì)陶情山歌的語(yǔ)言特色、調(diào)性、曲式以及審美情趣進(jìn)行了研究。同時(shí),將歌唱理論總結(jié)與演唱藝術(shù)實(shí)踐結(jié)合,探索民歌演唱如何體現(xiàn)民族性、科學(xué)性、藝術(shù)性的普遍原則,也是本文研究的目的。期望為當(dāng)代民族聲樂(lè)教學(xué)與演唱之實(shí)踐的進(jìn)步與民族聲樂(lè)理論的發(fā)展提供某些可供參考借鑒的意見(jiàn)。 本文共分五章。內(nèi)容上大致可分為四個(gè)部分：第一章主要是對(duì)新化陶情山歌的歷史背景及起源做了一個(gè)系統(tǒng)的概述；第二、三章屬于第二部分,是對(duì)新化陶情山歌的表現(xiàn)手法、格律特征及旋律特征進(jìn)行了詳細(xì)的分析。由于其獨(dú)具藝術(shù)特色的即興行腔、以腔行字成歌的方法,使得它的節(jié)奏豐富,旋律形式多變,曲式結(jié)構(gòu)多樣化。以達(dá)到尋求這一山歌與中國(guó)其他地方山歌的不同處,突出其特性；第四部分即第四章,主要探討了新化陶情山歌的演唱特點(diǎn)、語(yǔ)言特色及襯詞的運(yùn)用。由于新化獨(dú)特的地形地貌,“舊不予中國(guó)通”,以致探尋新化陶情山歌是在怎樣的語(yǔ)境中演唱的,以及它們的獨(dú)特的語(yǔ)言和襯詞；第四部分即第五章,簡(jiǎn)略的概述了新化陶情山歌的傳承與發(fā)展。陶情山歌被列入國(guó)家非物質(zhì)文化遺產(chǎn)的一部分,它是經(jīng)由怎樣的形式得以保存和發(fā)展的,歌手是如何傳承山歌的。 在具體研究過(guò)程中,筆者通過(guò)實(shí)地考察、采訪、音像分析等手段,就新化陶情山歌的歷史源流、音樂(lè)特征、演唱方法、審美追求、傳承方式、審美價(jià)值等問(wèn)題進(jìn)行了一定的思考與剖析。筆者認(rèn)為,新化陶情山歌在梅山地區(qū)已流傳了近二千多年,具有廣泛的民間基礎(chǔ),是梅山地區(qū)民眾生活的重要組成部分,它時(shí)刻伴隨著人們的生產(chǎn)、生活活動(dòng),是人們最主要的精神娛樂(lè)方式,同時(shí)也是它們思想情感的集中體現(xiàn)。它們深深扎根于梅山地區(qū)的文化傳統(tǒng)和文化歷史之中,是一筆寶貴的無(wú)形文化遺產(chǎn)。 據(jù)筆者了解,已有的關(guān)于新化山歌的研究,隨著國(guó)家民間文化遺產(chǎn)搶救工程的正式啟動(dòng),應(yīng)該說(shuō)已取得了可喜的成就。但根據(jù)已經(jīng)公開(kāi)的文本,關(guān)于梅山文化方面的文本居多,對(duì)新化山歌的研究也只停留在比較淺顯的表面上,相對(duì)來(lái)說(shuō)對(duì)新化陶情山歌本體的研究還是一個(gè)空白。筆者想通過(guò)對(duì)新化陶情山歌的現(xiàn)場(chǎng)學(xué)習(xí)和演唱,增加了對(duì)陶情山歌的理性認(rèn)識(shí),豐富了自己的藝術(shù)體驗(yàn)。介于筆者對(duì)本文的基礎(chǔ)性研究,將為今后的進(jìn)一步研究創(chuàng)造條件。
[Abstract]:Xinhua folk song is a bright pearl in Chinese folk songs. Xinhua love song is the largest number of Xinhua folk songs, very strong vitality, extremely characteristic song species. It has a long history, rich connotation, diverse tunes, melodious tones, pure timbre, kind and natural. From the point of view of musicology and national vocal music theory, this paper makes a comprehensive study on the musical characteristics and singing characteristics of Xinhua pottery folk songs, focusing on the language characteristics, tonality, musical form and aesthetic taste of the folk songs. At the same time, combining the singing theory with the practice of singing art, it is the purpose of this paper to explore how to embody the national, scientific and artistic universal principles of folk song singing. It is expected to provide some reference suggestions for the progress of the practice of teaching and singing of national vocal music and the development of the theory of national vocal music. This paper is divided into five chapters. The content can be roughly divided into four parts: the first chapter is a systematic overview of the historical background and origin of Xinhua pottery folk songs; the second, three chapters belong to the second part, which is the expression of Xinhua pottery folk songs. The characteristics of rhythm and melody are analyzed in detail. Because of the improvisation of its unique artistic characteristics, it has rich rhythm, varied melodic form and diversified musical structure. In order to seek the difference between this folk song and other Chinese folk songs, the fourth part, the fourth chapter, mainly discusses the singing characteristics, language characteristics and the use of lyrics. Because of the unique terrain and landform of Xinhua, "the old does not know how to use China", so as to explore the context in which Xinhua's sentimental folk songs are sung, as well as their unique language and contrasting words; the fourth part is the fifth chapter. This paper briefly summarizes the inheritance and development of Xinhua pottery folk songs. It is listed as part of the national intangible cultural heritage, which is preserved and developed in what form, and how the singer inherits it. In the concrete research process, the author through the field investigation, the interview, the audio-visual analysis and so on means, the historical origin, the music characteristic, the singing method, the esthetic pursuit, the inheritance way of the Xinhua pottery folk song, Aesthetic value and other issues have been considered and analyzed. The author believes that Xinhua pottery folk songs have been circulating in Meishan area for more than two thousand years. They have a broad folk foundation and are an important part of people's life in Meishan area. It is always accompanied by people's production and living activities. It is the most important way of spiritual entertainment, but also the concentrated embodiment of their thoughts and emotions. They are deeply rooted in the cultural tradition and cultural history of Meishan area and are a valuable intangible cultural heritage. According to my understanding, the existing research on Xinhua folk songs, with the official start of the national folk cultural heritage rescue project, should be said to have made gratifying achievements. But according to the published text, most of the texts about Meishan culture, the study of Xinhua folk songs is only on a relatively simple surface, relatively speaking, the research on the Noumenon of Xinhua pottery folk songs is still a blank. The author wants to increase the rational understanding and enrich his own artistic experience by studying and singing the Xinhua folk songs on the spot. The author's basic research will create conditions for further research in the future.
【學(xué)位授予單位】：湖南師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2010
【分類(lèi)號(hào)】：J607

【引證文獻(xiàn)】

相關(guān)期刊論文 前1條

1 謝萍;;論湖南新化山歌的語(yǔ)言藝術(shù)[J];中國(guó)音樂(lè);2012年03期

相關(guān)碩士學(xué)位論文 前1條

1 何曉倩;重慶市木洞山歌研究[D];四川音樂(lè)學(xué)院;2011年

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本文編號(hào)：2159967