本文選題：蒙古長調(diào) + 傳統(tǒng)韻味�。� 參考：《首都師范大學(xué)》2006年碩士論文

【摘要】：蒙古族長調(diào)以其非凡的藝術(shù)魅力及獨特風格在世界藝術(shù)舞臺上閃閃發(fā)光，并越來越被世人所認知和喜愛。她是蒙古族民間傳統(tǒng)藝術(shù)的瑰寶，也是世界音樂之林中的奇葩�？墒怯捎谏鐣䴕v史等多種原困，對于這種悠久的藝術(shù)成果，一直沒有進行很好的研究和整理，又由于我們的歌唱經(jīng)驗一直處于口傳心授的階段，沒有形成系統(tǒng)的、科學(xué)的演唱方法教學(xué)理論體系，很多寶貴的歌唱經(jīng)驗難以保留下來，所以探索蒙古族長調(diào)的科學(xué)演唱方法是一個亟待解決的問題。歷史實踐證明，任何一個民族的文化，在其發(fā)展的進程中，一方面繼承自己的傳統(tǒng)，另一方面吸收外來文化，都是在吸收、借鑒、融合中得到發(fā)展的。作為蒙古民族藝術(shù)瑰寶的長調(diào)，要使它煥發(fā)出更加奪目的光彩，使之躋身于世界藝術(shù)的巔峰行列，有必要在全面繼承的基礎(chǔ)上不斷地進行探索研究。就這一點來說，比較研究美聲學(xué)派和蒙古族長調(diào)演唱藝術(shù)的產(chǎn)生和發(fā)展軌跡，對長調(diào)的存在和發(fā)展具有很大的啟示和借鑒意義。本文分五部分： 第一部分：蒙古族長調(diào)和意大利美聲唱法的歷史淵源及在中國的發(fā)展狀況。這一部分通過介紹蒙古族長調(diào)和美聲唱法的歷史淵源，交代了蒙古族長調(diào)有著比美聲更為悠久的歷史，和有待繁榮發(fā)展的現(xiàn)狀，而美聲憑著三百多年的歷史積淀就走向世界，被公認為是科學(xué)的歌唱方法，通過對二者的比較，探尋長調(diào)發(fā)展的途徑。 第二部分：蒙古族長調(diào)與美聲唱法獨特的文化內(nèi)涵。對于任何新事物的生成及發(fā)展來說都離不開一定的社會因素，這些社會因素包括一定的歷史時代的政治經(jīng)濟文化乃至每個民族特定傳統(tǒng)的文化審美，風俗習慣，民族語言，人文精神等，文學(xué)、美術(shù)如此，音樂亦如此。通過兩種文化的比較有助于我們認清兩種藝術(shù)形態(tài)的產(chǎn)生、形成及發(fā)展的環(huán)境。 第三部分：長調(diào)與美聲演唱藝術(shù)的審美傳統(tǒng)和情感表現(xiàn)方式。形式取決于內(nèi)容。由于時代與文化的差異，中國歌曲與西洋歌曲有著不同的風格。長調(diào)與美聲演唱藝術(shù)迥然不同的風格是源于現(xiàn)實生活。準確把握歌曲的不同風格，對于我們演唱好中國歌曲是至關(guān)重要的。本部分通過對兩種藝術(shù)表現(xiàn)形式的審美傳統(tǒng)和情感表現(xiàn)方式的分析，深入探討美聲唱法和長調(diào)藝術(shù)的風格構(gòu)成要素。 第四部分：蒙古族長調(diào)與意大利美聲唱法之藝術(shù)比較。這一部分主要從三個方面分別論述了美聲唱法和蒙古族長調(diào)唱法的特點、共性，以及借鑒美聲唱法發(fā)展長調(diào)演唱方法的可行性。 第五部分：對于借鑒美聲唱法弘揚長調(diào)藝術(shù)的思考 本部分論述了長調(diào)唱法借鑒美聲唱法的具體問題，強調(diào)蒙古族長調(diào)演唱藝術(shù)是處在繼承發(fā)展的過程中，，我們既要發(fā)揚民族傳統(tǒng)優(yōu)秀文化，又要吸收借鑒美聲科學(xué)唱法，以便更好地推進我國民族聲樂的發(fā)展，我們可以借鑒美聲學(xué)派的發(fā)展道路，為蒙古族長調(diào)藝術(shù)的發(fā)展開拓新境界。
[Abstract]:The Mongolia ethnic long tune is glittering in the world art stage with its extraordinary artistic charm and unique style, and is more and more recognized and loved by the world. She is a gem of the traditional Mongolian folk art and a wonderful flower in the forest of world music. There is a good study and arrangement, and because our singing experience is always in the stage of oral and oral teaching, there is no systematic, scientific singing method teaching theory system, many valuable singing experience is difficult to retain, so exploring the scientific singing method of Mongolia ethnic long tune is a problem to be solved urgently. It is proved that the culture of any nation, in the course of its development, has inherited its own tradition on the one hand, and on the other hand it has been developed in the absorption, reference and integration. As a long tune of the national art treasure of Mongolia, it is necessary to make it shine more glorious and make it the top of the world art. On the basis of comprehensive inheritance, we should continue to explore and research. As to this point, the comparison and study of the production and development of the singing art of the sect and Mongolia ethnic long tune has great enlightenment and reference for the existence and development of long tune. This paper is divided into five parts:
The first part: the historical origin of Mongolia clan long and Italy canto in China and its development in China. Through the introduction of the historical origin of the Mongolia clan long and bel canto in China, this part explains the long history of the Mongolia clan long tune, which has a longer history than the beauty sound, and the status that needs to be flourishing and development, while the beauty of the American voice is with the history of more than 300 years. When the lake goes to the world, it is generally regarded as the singing method of science. Through the comparison of the two, it explores the way of long tune development.
The second part: the unique cultural connotation of the Mongolia ethnic long tune and the canto of the sings. For the generation and development of any new thing, it can not be separated from certain social factors. These social factors include the political and economic culture of a certain historical era, as well as the cultural aesthetic, custom, national language and humanistic spirit of each national specific tradition. Literature, art and music are the same. Through the comparison of the two cultures, we can see clearly the emergence, formation and development environment of the two forms of art.
The third part: the aesthetic tradition and emotional expression mode of the long tune and the ESUs singing art. The form depends on the content. Because of the difference between the times and the culture, the Chinese songs have different styles from the Western songs. The different styles of the long tune and the art of singing are from the real life. It is very important to sing Chinese songs well. Through the analysis of the aesthetic traditions and emotional expressions of the two forms of artistic expression, this part explores the elements of the style of the canto and the art of long tune.
The fourth part: the comparison between the Mongolia ethnic long tune and the art of the Italy sings. This part mainly discusses the characteristics and commonness of the canto and the Mongolia long tune singing from three aspects, as well as the feasibility of developing a long tune singing method by using the sound of the sound of sound.
The fifth part: Thinking of using the bel canto method to promote the art of long tune.
This section expounds the specific problems of the long tune singing method for reference to the sound of the sound of sound, emphasizing that the Mongolia ethnic long tune singing art is in the process of inheriting and developing. We should not only carry forward the national traditional culture, but also absorb and draw on the sound science singing method in order to better promote the development of national vocal music in our country. We can learn from the development of the sonic school. The road opens up new horizons for the development of the art of the Mongolia clan tune.

【學(xué)位授予單位】：首都師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2006
【分類號】：J616.2

【引證文獻】

相關(guān)碩士學(xué)位論文 前2條

1 金磊鑫;蒙古族風格歌曲的創(chuàng)作與演唱[D];南京藝術(shù)學(xué)院;2010年

2 嚴登凱;聲樂中音色與腔體的關(guān)系研究[D];中央民族大學(xué);2010年

本文編號：1847769