本文選題：蒙漢調(diào) + 演唱風(fēng)格�。� 參考：《中央民族大學(xué)》2005年碩士論文

【摘要】：“蒙漢調(diào)”,俗稱“漫翰調(diào)”或“蠻漢調(diào)”,是清乾隆年間,漢族大量涌入內(nèi)蒙古準(zhǔn)格爾旗地區(qū)產(chǎn)生的一種新型民間歌種。它是蒙、漢勞動人民智慧和文化的結(jié)晶,它反映著蒙漢兩族人民生活文化和深厚友誼。近年來,由于準(zhǔn)格爾旗的對外開放,蒙漢調(diào)開始傳播到內(nèi)蒙古周邊地區(qū)乃至全國各地區(qū),深受民眾好評。并且自身也在不斷吸收外界新的音樂元素“為我所用”,并得到了長足的發(fā)展。蒙漢調(diào)這種特殊的音樂文化現(xiàn)象,不僅有其獨(dú)特的歷史文化內(nèi)涵以及演唱方法上的特殊性,同時也體現(xiàn)出蒙漢兩族文化交融的特征,值得挖掘和研究。本論題從歷史角度出發(fā),運(yùn)用文化人類學(xué)、民俗學(xué)和音樂學(xué)的理論,采取調(diào)查法、綜合研究法等,對蒙漢調(diào)的源流、演唱方法及繼承與發(fā)展做了較深入的分析論證。全文共五個部分:一、蒙漢調(diào)的歷史。這部分內(nèi)容分別從蒙漢調(diào)的名稱來源、流傳地域和歷史背景等方面進(jìn)行了論述;二、蒙漢調(diào)的音樂概貌。從蒙漢調(diào)的歌種類型、演唱形式、旋律特征、曲式結(jié)構(gòu)及伴奏五個方面詮釋了蒙漢調(diào)的音樂特點(diǎn);三、蒙漢調(diào)唱詞的分類特點(diǎn)及藝術(shù)特色。這部分全面論述了蒙漢調(diào)唱詞內(nèi)容上的分類、特點(diǎn)及唱詞常用的一些方言特征及藝術(shù)特色,全面展示了蒙漢調(diào)唱詞的獨(dú)特性;四、蒙漢調(diào)的演唱特征。這部分是全文的重點(diǎn),在有關(guān)演唱資料匱乏的情況下,作者通過親身實(shí)踐及深入細(xì)致的田野采風(fēng)工作,收集到第一手有關(guān)演唱的資料。在專業(yè)理論的指導(dǎo)下,和總結(jié)民間演唱經(jīng)驗(yàn)的基礎(chǔ)上,筆者從三個方面總結(jié)了蒙漢調(diào)的演唱風(fēng) 格及特點(diǎn):①民間藝人談蒙漢調(diào)的演唱②專家學(xué)者談蒙漢調(diào)的演唱③ 蒙漢調(diào)演唱之管見。這部分不僅總結(jié)了蒙漢調(diào)唱法上的特點(diǎn),同時一還 對蒙漢調(diào)演唱中出現(xiàn)的問題提出了相應(yīng)解決方法;五、蒙漢調(diào)的傳承 發(fā)展與展望。這部分從蒙漢調(diào)的混融性與獨(dú)特性、集體性與社會性、 傳播性與變異性等特性出發(fā)展望蒙漢調(diào)的發(fā)展。全文對蒙漢調(diào)文化內(nèi) 涵及演唱風(fēng)格進(jìn)行了深入的探討,具有一定的理論性和創(chuàng)新性。 關(guān)鍵詞蒙漢調(diào),演唱風(fēng)格,繼承與展望
[Abstract]:"Mongolian and Han tune", commonly known as "Man Han tune" or "Man Han tune", was a new folk song species in the Qianlong period of Qing Dynasty, when Han nationality poured into the Zhungeer Banner area of Inner Mongolia. It is the crystallization of the wisdom and culture of the working people of Mongolia and Han, and reflects the living culture and deep friendship of the two peoples. In recent years, due to the opening of Zhungeer Banner, Mongolia-Han dispatching spread to the surrounding areas of Inner Mongolia and even to all regions of the country, and was well received by the people. And oneself also is absorbing outside new music element "for my use", and has obtained the considerable development. This special phenomenon of music and culture has not only its unique historical and cultural connotation and the particularity of singing methods, but also reflects the characteristics of the blending of Mongolian and Chinese cultures, which is worth exploring and studying. From the historical point of view, using the theories of cultural anthropology, folklore and musicology, and adopting the methods of investigation and comprehensive research, this thesis makes a deep analysis and demonstration of the origin, singing method, inheritance and development of Mongolian and Han tune. The thesis consists of five parts: first, the history of Mongolian and Han tune. This part discusses the origin of the name, the region of spread and the historical background of Mongolian and Han tune respectively; second, the music overview of Mongolian and Han tune. This paper interprets the music characteristics of Mongolian and Han tune from five aspects: the type of song, singing form, melody, musical structure and accompaniment. Thirdly, the classification and artistic characteristics of song words in Mongolian and Chinese tune. This part comprehensively discusses the classification, characteristics and some dialects and artistic characteristics of Mongolian and Han tongues, and shows the uniqueness of Mongolian and Chinese lyrics; fourthly, the singing characteristics of Mongolian and Chinese tongues. This part is the focus of the full text, in the case of the lack of relevant singing materials, the author through personal practice and intensive field work, collect first-hand information about singing. Under the guidance of professional theory, and on the basis of summing up the experience of folk singing, The author sums up the singing style and characteristics of the Mongolian and Chinese tune from three aspects. The author discusses the singing style of the Mongolian and Han tune and the characteristics of the folk artist. 2 the experts and scholars talk about the singing of the Mongolian and the Han tune; 3 the views on the singing of the Mongolian and the Chinese tune. This part not only summarizes the characteristics of the Mongolian and Han tune singing method, but also puts forward the corresponding solutions to the problems in the Mongolian and Han tune singing; fifth, the Mongolian and Han tune inheritance and development and prospects. This part looks forward to the development of Mongolian and Han tune from the characteristics of mixing and uniqueness, collectivity and sociality, communication and variability. The full text has carried on the thorough discussion to the Mongolian and the Han tone cultural connotation and the singing style, has certain theory and the innovation. Key words Mongolian and Chinese tune, singing style, inheritance and prospect
【學(xué)位授予單位】：中央民族大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2005
【分類號】：J616.2

【引證文獻(xiàn)】

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相關(guān)碩士學(xué)位論文 前1條

1 付培;內(nèi)蒙古準(zhǔn)格爾旗漫瀚調(diào)傳承變異調(diào)查研究[D];西北民族大學(xué);2011年

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本文編號：2007702