本文選題：明清唱論　切入點(diǎn)：歌唱藝術(shù)　出處：《河南大學(xué)》2006年碩士論文

【摘要】： 本論文以明清兩朝的演唱理論為具體研究對(duì)象,按照借鑒、吸收的“實(shí)用主義”思路對(duì)其進(jìn)行梳理、總結(jié)。運(yùn)用分析法、歸納法和比較法,重點(diǎn)探討其對(duì)于現(xiàn)今我國(guó)聲樂(lè)藝術(shù)實(shí)踐所具有的現(xiàn)實(shí)意義。全文共分兩大部分: 第一部分,即第一章,主要是以“實(shí)用”的標(biāo)準(zhǔn)對(duì)明清唱論進(jìn)行重新梳理、總結(jié),一方面使唱論家們理論研究的歷史過(guò)程更清晰的呈現(xiàn)出來(lái),便于我們更好的把握這一歷史脈絡(luò);另一方面,突顯他們的理論成果,以使其更易于被人們所認(rèn)識(shí)、所吸收。這是文章的基礎(chǔ)部分。 第二部分,即第二、三章及總結(jié)部分,分別從技術(shù)層面和藝術(shù)層面探討明清唱論的現(xiàn)實(shí)意義。從技術(shù)層面說(shuō),明清唱論在歌唱語(yǔ)言、情感表達(dá)、聲音技巧及作品等諸多方面,總結(jié)出了許多具體的原則、方法,有的可作為解決現(xiàn)今聲樂(lè)藝術(shù)中的一些具體技術(shù)難題的直接理論指導(dǎo),有的則為我們發(fā)明、創(chuàng)新新的技術(shù)理論提供了很好的借鑒;從藝術(shù)層面說(shuō),明清唱論在審美標(biāo)準(zhǔn)、藝術(shù)風(fēng)格、音樂(lè)發(fā)展道路等方面的論述,觸及到許多聲樂(lè)藝術(shù)的基本規(guī)律,可以引導(dǎo)我們進(jìn)入更深理論層面,更全面的去思考問(wèn)題,從而為發(fā)展我國(guó)的聲樂(lè)藝術(shù)事業(yè)提供良好的理論支持。這是文章的主體部分。
[Abstract]:This thesis takes the singing theory of Ming and Qing dynasties as the concrete research object, combs and summarizes it according to the "pragmatism" thought which draws lessons from, absorbs, uses the analytic method, inductive method and comparative method, This paper focuses on its practical significance to the practice of vocal music in our country. The thesis is divided into two parts:. The first part, namely the first chapter, mainly combs the singing theory of the Ming and Qing dynasties with the "practical" standard, summarizes, on the one hand, makes the historical process of the theoretical research of the singing theorists appear more clearly. It is convenient for us to grasp this historical context better; on the other hand, to highlight their theoretical achievements in order to make them easier to be recognized and absorbed. This is the basic part of the article. The second part, namely the second, third chapter and the summary part, respectively discusses the realistic significance of the Ming and Qing singing theory from the technical and artistic level. From the technical aspect, the Ming singing theory has many aspects such as singing language, emotional expression, sound skills and works, etc. Summarized many specific principles, methods, some can be used as a direct theoretical guidance to solve some specific technical problems in the art of vocal music, others provide a good reference for us to invent and innovate new technical theory; From an artistic point of view, the discussion on the aesthetic standards, artistic style, and the way of music development in the Ming Dynasty has touched upon the basic laws of many vocal music arts, which can lead us to a deeper theoretical level and more comprehensive thinking of problems. Thus it provides good theoretical support for the development of vocal music in China, which is the main part of the article.
【學(xué)位授予單位】：河南大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2006
【分類號(hào)】：J609.2

【引證文獻(xiàn)】

相關(guān)碩士學(xué)位論文 前1條

1 周敏;對(duì)林俊卿“咽音”理論的內(nèi)涵及其創(chuàng)新價(jià)值的思考[D];福建師范大學(xué);2007年

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本文編號(hào)：1700628