本文選題：阿拉坦其其格　切入點(diǎn)：長(zhǎng)調(diào)　出處：《內(nèi)蒙古師范大學(xué)》2006年碩士論文

【摘要】： 本文采取聲樂(lè)學(xué)的相關(guān)分析方法,結(jié)合民族音樂(lè)學(xué)的個(gè)案研究和文化變遷的相關(guān)理論,把研究對(duì)象置入到文化背景中的研究方法,采取通過(guò)個(gè)體來(lái)觀照整體的研究思路,把個(gè)案探討、事象分析與文化批評(píng)集為一體的多重視角,對(duì)著名長(zhǎng)調(diào)歌唱家阿拉坦其其格的長(zhǎng)調(diào)演唱藝術(shù)進(jìn)行盡可能細(xì)致深入的研究。通過(guò)對(duì)阿拉坦其其格的成長(zhǎng)、從藝道路以及藝術(shù)風(fēng)格、演唱技藝的傳承、積累過(guò)程的描述,把阿拉坦其其格長(zhǎng)調(diào)演唱技法的積累和藝術(shù)風(fēng)格的形成與她本人的藝術(shù)經(jīng)歷結(jié)合起來(lái),進(jìn)一步把它放置在建國(guó)以來(lái)特定的社會(huì)文化脈絡(luò)當(dāng)中,通過(guò)她對(duì)半個(gè)世紀(jì)以來(lái)蒙古族長(zhǎng)調(diào)演唱藝術(shù)的專(zhuān)業(yè)化——舞臺(tái)化歷程進(jìn)行盡可能全面的觀照。文章著重在演唱技法、藝術(shù)風(fēng)格以及文化背景彼此相聯(lián)的三個(gè)層面上進(jìn)行詳細(xì)的探討論述。論文中認(rèn)為,阿拉坦其其格是蒙古族長(zhǎng)調(diào)民歌阿拉善風(fēng)格的杰出代表,同時(shí)也是建國(guó)后新時(shí)期專(zhuān)業(yè)——舞臺(tái)型長(zhǎng)調(diào)藝術(shù)的開(kāi)拓者和成功的實(shí)踐者。她融匯了傳統(tǒng)與現(xiàn)代、民族與美聲、長(zhǎng)調(diào)與短調(diào)等多重因素的演唱風(fēng)格,既是對(duì)傳統(tǒng)的繼承,也是對(duì)傳統(tǒng)的改造和創(chuàng)新。這種藝術(shù)風(fēng)格的形成與她個(gè)人的資質(zhì)以及生活時(shí)代、學(xué)習(xí)經(jīng)歷、區(qū)域傳統(tǒng)、文化環(huán)境休戚相關(guān)。可以說(shuō),阿拉坦其其格的演唱風(fēng)格是在個(gè)人、家族、民族所負(fù)載的多重文化因素在跨越時(shí)空的碰撞交匯中形成的,它代表著蒙古族長(zhǎng)調(diào)演唱藝術(shù)今后發(fā)展的一個(gè)方向。
[Abstract]:This paper adopts the relevant analysis method of vocal music, combined with the case study of ethnomusicology and the relevant theory of cultural change, puts the research object into the research method of the cultural background, and adopts the research thought of looking at the whole through the individual. From the perspective of case study, event analysis and cultural criticism, this paper makes as detailed and thorough a study as possible on the art of singing in the long tune of the famous long tune singer, Alatanqi, through the growth of the arattanqi. From the art road and artistic style, singing skills inheritance, accumulation process of description, the arattan long tune singing skills accumulation and the formation of artistic style with her own artistic experience, Further placed it in the specific social and cultural context since the founding of the people's Republic of China, and through her comprehensive reflection on the professionalization and stage process of the Mongolian long tune singing art in the past half century, the article focuses on singing techniques. The artistic style and cultural background are related to each other on three levels to discuss in detail. In this paper, it is believed that Alatanqig is an outstanding representative of the Mongolian folk song Alashan style in the long tune. At the same time, she is also a pioneer and a successful practitioner of the professional-stage long tune art in the new period after the founding of the people's Republic of China. It is also a transformation and innovation of tradition. The formation of this artistic style is closely related to her personal qualifications and life times, learning experience, regional traditions, and cultural environment. The multi-cultural factors supported by the nation are formed in the collision and intersection across time and space, which represents a direction of the Mongolian long tune singing art in the future.
【學(xué)位授予單位】：內(nèi)蒙古師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2006
【分類(lèi)號(hào)】：J616

【引證文獻(xiàn)】

相關(guān)碩士學(xué)位論文 前1條

1 陳艷秋;肅北蒙古族長(zhǎng)調(diào)音樂(lè)及其演唱探析[D];內(nèi)蒙古師范大學(xué);2012年

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本文編號(hào)：1658396