本文選題：《繡荷包》 + 藝術(shù)風(fēng)格��； 參考：《山東師范大學(xué)》2005年碩士論文

【摘要】：《繡荷包》是我國(guó)各地區(qū)廣為流傳的傳統(tǒng)小調(diào)。在漫長(zhǎng)的發(fā)展過(guò)程中,經(jīng)過(guò)幾代人的潤(rùn)色加工、再創(chuàng)造和發(fā)展,日臻完善。在民歌的汪洋大海中,《繡荷包》雖然只是一朵小小的浪花,但是作為一種傳統(tǒng)的藝術(shù)形式,通過(guò)對(duì)其淵源、音階、調(diào)式、演唱等諸方面的分析,卻能發(fā)現(xiàn)中國(guó)傳統(tǒng)民歌中地域性、鄉(xiāng)土性的文化特征,形象地反映了某一時(shí)代的人們對(duì)愛(ài)情生活的特殊感受和理解,而在這種特定的歷史、環(huán)境和人群中所形成的獨(dú)具特色的藝術(shù)風(fēng)格,在審美形式上卻顯示出了更深一層的文化底蘊(yùn)。 據(jù)統(tǒng)計(jì),在我國(guó)漢族各地區(qū)大約流傳有近百首《繡荷包》同名小調(diào),在如此龐大的體系中,每一首《繡荷包》的藝術(shù)風(fēng)格卻各具特色。一是唱詞內(nèi)容豐富多彩,或表達(dá)男女之間的愛(ài)情,或贊美生活,或描寫(xiě)歷史,但都離不開(kāi)“繡荷包”這一文學(xué)母題;二是由于各地區(qū)的地理環(huán)境、方言、文化、歷史、風(fēng)俗等不同,曲調(diào)旋律色彩各異,呈現(xiàn)出繽紛多彩的特點(diǎn);三是任何一首民歌都必須通過(guò)演唱來(lái)進(jìn)行傳播和交流,然而各地區(qū)的傳統(tǒng)演唱技巧都具有濃郁的地方特色,這就使得流傳于不同地區(qū)《繡荷包》的演唱風(fēng)格也存在一定的差異。本文在闡述《繡荷包》的歷史、流傳和總體風(fēng)格特點(diǎn)后,以山東地區(qū)的十四首《繡荷包》為例,進(jìn)一步說(shuō)明即使在同一地區(qū)內(nèi)流傳的同名小調(diào),它們之間也具有不同的風(fēng)格特征。在全球化趨勢(shì)加快發(fā)展的當(dāng)今社會(huì)中,人們的審美觀與過(guò)去相比發(fā)生了巨大的變化,《繡荷包》作為一種傳統(tǒng)的藝術(shù)形式,必然會(huì)與現(xiàn)代社會(huì)的審美觀念發(fā)生沖突,本文試圖通過(guò)對(duì)兩方面的闡述,即新的創(chuàng)作技法和民族新唱法,解決《繡荷包》的傳統(tǒng)性與現(xiàn)代人審美觀之間的關(guān)系。 文章分為三個(gè)部分: 第一部分概括《繡荷包》的歷史發(fā)展、流傳和現(xiàn)狀,以及在漫長(zhǎng)的歷史進(jìn)程中所形成的社會(huì)功能與表現(xiàn)作用,同時(shí)從曲調(diào)、歌詞、演唱三方面總體地分析《繡荷包》的風(fēng)格特征,以清晰地勾畫(huà)出《繡荷包》小調(diào)的基本特點(diǎn)。 第二部分對(duì)《繡荷包》小調(diào)進(jìn)行區(qū)域化的分析,以山東地區(qū)為例,考察十四首《繡荷包》的流傳與現(xiàn)狀,并以藝術(shù)風(fēng)格的三要素即曲調(diào)、歌詞、演唱為寫(xiě)作框架,具體探究山東《繡荷包》本身所具有的傳統(tǒng)特色。 第三部分以美學(xué)考察作先導(dǎo),解決《繡荷包》作為傳統(tǒng)民歌,應(yīng)如何處理好與現(xiàn)代審美觀念之間的關(guān)系,從而為現(xiàn)代人所接受這樣一個(gè)問(wèn)題。通過(guò)對(duì)《繡荷包》小調(diào)的比較分析,本文得出如下認(rèn)識(shí):1、《繡荷包》是一首在明清時(shí)期就廣為流傳的傳統(tǒng)小調(diào),雖然屬于流傳于不同地區(qū)的同名小調(diào),其歌詞都共同維系著“繡荷包”這一“文學(xué)母題”,但每一首《繡荷包》的曲調(diào)和
[Abstract]:Embroidered bag is a popular traditional minor in various areas of our country. In the long process of development, after several generations of retouching processing, re-creation and development, improving. In the vast ocean of folk songs, "embroidered bag" is just a small spray, but as a traditional art form, through the analysis of its origin, scale, tone, singing and other aspects, However, it can be found that the regional and local cultural characteristics of Chinese traditional folk songs vividly reflect the special feelings and understanding of love life of people of a certain era, and in this particular history, The unique artistic style formed in the environment and crowd shows a deeper cultural connotation in aesthetic form. According to statistics, there are about a hundred "embroidered bags" in minor of the same name in various areas of Han nationality in our country. In such a large system, each "embroidered purse" has its own artistic style. One is the rich and colorful content of singing words, or the expression of love between men and women, or the praise of life, or the description of history, but they are all inseparable from the literary motif of "embroidered purse"; second, because of the geographical environment, dialect, culture, history of various regions, Different customs, different tunes and melodies, showing colorful features; third, any folk song must be transmitted and exchanged through singing, but the traditional singing techniques in all regions have strong local characteristics. This makes it possible to spread in different regions of the singing style of embroidery bag also has certain differences. After expounding the history, circulation and overall style of embroidery, this paper takes 14 "embroidered bags" in Shandong as an example to further illustrate the minor tune of the same name that is circulating in the same area. They also have different stylistic features. In today's society with the rapid development of globalization, people's aesthetic standards have changed greatly compared with the past. As a traditional art form, embroidery bag will inevitably conflict with the aesthetic concept of modern society. This paper attempts to solve the relationship between the tradition of "embroidered purse" and modern aesthetics through the elaboration of two aspects, namely, the new creative techniques and the new singing method of the nation. The article is divided into three parts: the first part summarizes the historical development, spread and present situation of "embroidered bag", as well as the social function and expression function formed in the long historical process. At the same time, the style features of "embroidered purse" are analyzed in three aspects: tune, lyrics and singing, so as to clearly outline the basic characteristics of "embroidered purse" minor. The second part analyzes the regionalization of "embroidered purse" minor, taking Shandong as an example, investigates the spread and present situation of fourteen "embroidered bags", and takes the three elements of artistic style, namely, tune, lyrics and singing as the writing frame. Specifically explore the Shandong embroidery bag itself has the traditional characteristics. The third part takes aesthetic investigation as the guide to solve the problem of "embroidered bag" as a traditional folk song, how to deal with the relationship between it and the modern aesthetic concept, so as to be accepted by modern people. Through the comparative analysis of "embroidered purse" minor, this paper draws the following conclusions: 1, "embroidered purse" is a traditional minor that was widely spread in the Ming and Qing dynasties, although it belongs to a minor of the same name that has been circulating in different regions. The lyrics all hold together the "literary motif" of "embroidered purse", but the tune of each "embroidered purse" and
【學(xué)位授予單位】：山東師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2005
【分類號(hào)】：J607

【引證文獻(xiàn)】

相關(guān)碩士學(xué)位論文 前2條

1 黃代柯;民歌《繡荷包》的民俗與文化解讀[D];四川師范大學(xué);2011年

2 王春紅;東北漢族民間小調(diào)與鄉(xiāng)土因緣研究[D];東北師范大學(xué);2011年

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本文編號(hào)：2060029