本文選題：80年代　切入點(diǎn)：中國藝術(shù)歌曲　出處：《華南理工大學(xué)》2014年碩士論文

【摘要】：藝術(shù)歌曲最早起源于十八世紀(jì)末十九世紀(jì)初的歐洲。五四運(yùn)動(dòng)以來，藝術(shù)歌曲大量傳入我國，一批有識(shí)之士積極傳播、推廣并創(chuàng)作出了一些有價(jià)值的藝術(shù)歌曲，成為藝術(shù)歌曲探索的第一批先行者，為藝術(shù)歌曲在我國的發(fā)展奠定了初步的基礎(chǔ)。新中國成立后，藝術(shù)歌曲有了長足的進(jìn)步和發(fā)展。尤其是改革開放以來，中國藝術(shù)歌曲無論是在創(chuàng)作的數(shù)量還是創(chuàng)作的質(zhì)量上都有了很大的提高，，特別是整個(gè)80年代可以說是中國藝術(shù)歌曲發(fā)展的第二個(gè)黃金時(shí)期。 本文選取80年代中國藝術(shù)歌曲的發(fā)展概況和演唱研究作為兩個(gè)切入點(diǎn)，探究80年代中國藝術(shù)歌曲的發(fā)展?fàn)顩r和演唱特征。全文共分為四章：第一章緒論，主要闡述選題的來源、內(nèi)容、價(jià)值及國內(nèi)研究現(xiàn)狀。第二章20世紀(jì)80年代中國藝術(shù)歌曲的發(fā)展概況，本章首先對(duì)中國藝術(shù)歌曲這一概念做了界定，對(duì)中國藝術(shù)歌曲產(chǎn)生的社會(huì)歷史背景和發(fā)展脈絡(luò)做了宏觀梳理，重點(diǎn)對(duì)80年代中國藝術(shù)歌曲的發(fā)展概況做了詳細(xì)闡述。第三章選取以陸在易《最后一個(gè)夢(mèng)》為例，對(duì)演唱陸在易的藝術(shù)歌曲做了深入研究。在音樂界“音樂詩人”之稱的陸在易，他的創(chuàng)作題材多源于我國深厚的傳統(tǒng)人文思想，反映了作者內(nèi)心對(duì)家的熱愛和拳拳愛國的赤子情懷，其歌詞皆選自經(jīng)典詩詞，他創(chuàng)作的藝術(shù)歌曲情感細(xì)膩渾厚、旋律優(yōu)美動(dòng)聽、格調(diào)明朗歡快、意境悠遠(yuǎn)深長，可謂是“音中有詩，樂中有畫”�！蹲詈笠粋�(gè)夢(mèng)》選自我國著名詞人張鴻喜的詞，作品反映了祖國億萬人民深切期盼祖國統(tǒng)一的美好愿望,一反慣常的口號(hào)式的愛國吶喊或情感的卿卿我我，始終用一種“小我”的平凡內(nèi)涵，透出一種對(duì)祖國、對(duì)民族的“大愛”情懷。《最后一個(gè)夢(mèng)》這首歌曲的速度是平靜的柔板，給人如夢(mèng)如幻的視聽感覺，用簡(jiǎn)單集中的音樂素材、短小的篇幅內(nèi)容和精致的鋼琴伴奏將作者內(nèi)心急切渴望海峽兩岸早日實(shí)現(xiàn)統(tǒng)一的美好愿望表現(xiàn)的淋漓盡致。最后是結(jié)論，這一章主要探討了中國藝術(shù)歌曲今天的發(fā)展受困的原因及解決對(duì)策。筆者認(rèn)為，流行歌曲的擠兌和快餐文化的影響，使得中國藝術(shù)歌曲數(shù)量多、精品少。為了擺脫當(dāng)前困境，更好地弘揚(yáng)民族文化，打造民族特色音樂，就必須不斷提高音樂演唱者自身的內(nèi)在素養(yǎng)，不僅要?jiǎng)?chuàng)作出好的藝術(shù)歌曲，還要把好的藝術(shù)歌曲演唱好；更為重要的是要充分運(yùn)用現(xiàn)代新興媒體把好的藝術(shù)歌曲傳播好，讓好的藝術(shù)歌曲在廣大人民群眾中生根開花。
[Abstract]:Art songs originated in Europe at the end of the 18 th century and the beginning of the 19 th century.Since the May 4th Movement, a large number of art songs have been introduced into our country, and a number of people of insight have actively disseminated, popularized and created some valuable art songs, becoming the first group of pioneers in the exploration of art songs.For the development of art songs in China laid a preliminary foundation.After the founding of New China, art songs have made great progress and development.Especially since the reform and opening up, the number and quality of Chinese art songs have been greatly improved, especially the whole 1980s can be said to be the second golden period of the development of Chinese art songs.In this paper, the development of Chinese art songs in the 1980s and singing research as two entry points to explore the development of Chinese art songs in the 1980s and singing characteristics.The full text is divided into four chapters: the first chapter is an introduction, mainly describes the source, content, value and domestic research status.The second chapter is about the development of Chinese art songs in 1980s. Firstly, this chapter defines the concept of Chinese art songs, and makes a macroscopic analysis of the social and historical background and development of Chinese art songs.The development of Chinese art songs in the 1980's is described in detail.In the third chapter, taking Lu Zaiyi's Last Dream as an example, the author makes a deep research on the artistic song of Lu Zaiyi.Lu Zaiyi, who is known as "music poet" in the music world, his creation subject matter mostly originates from our country's profound traditional humanities thought, has reflected the author's heart to the home love and the fist boxing patriotic naked son sentiment, its lyrics are all selected from the classical poem.His artistic songs are full of exquisite emotions, beautiful melodies, bright and cheerful styles, and profound artistic conception. It can be said that "there are poems in sounds and paintings in music." "the Last Dream" is selected from the words of famous Chinese poet Zhang Hongxi.The works reflect the motherland's hundreds of millions of people's deep desire for the reunification of the motherland. Instead of the usual slogan of patriotic cry or emotional affection, they always use the ordinary connotation of "ego" to reveal a kind of respect for the motherland.The speed of this song is calm and flexible, giving people a dreamlike audiovisual feeling, using simple and concentrated music material,The short content and exquisite piano accompaniment make the author eager to realize the reunification of the two sides of the Taiwan Strait as soon as possible.Finally, the conclusion, this chapter mainly discusses the development of Chinese art songs today, the reasons and solutions.The author thinks that the run on pop songs and the influence of fast food culture make the number of Chinese art songs more and less.In order to get rid of the current predicament, better carry forward the national culture and create the music with national characteristics, we must constantly improve the inner accomplishment of the singers themselves, not only to create good art songs, but also to sing the good art songs.What is more important is to make full use of modern new media to spread good art songs so that they can take root and blossom among the broad masses of people.
【學(xué)位授予單位】：華南理工大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類號(hào)】：J609.2

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相關(guān)期刊論文 前1條

1 陸在易;;中國藝術(shù)歌曲創(chuàng)作之我見[J];人民音樂;2007年08期

本文編號(hào)：1725678