【摘要】：近20年以來，隨著我國改革開放的深入、經(jīng)濟高速發(fā)展以及文化繁榮生根，流行音樂在中國蓬勃發(fā)展，在此期間，吸納了眾多中國音樂元素，豐富了流行音樂的編曲，風格及演出形式。流行音樂在中國的不斷本土化，三弦成為了其發(fā)展的特色組成部分，并出現(xiàn)了“京味兒民謠”的流行音樂風格。直至今日，何勇的《鐘鼓樓》等歌曲仍然是流行音樂的經(jīng)典；2014年“春晚”中，郝云的原創(chuàng)民謠歌曲《群發(fā)的信息我不回》中使用了大篇幅的三弦段落，而“三弦”成為了網(wǎng)絡(luò)搜索的熱門關(guān)鍵詞。本文的研究對象集中于近20年來三弦與流行音樂結(jié)合的音樂現(xiàn)象，發(fā)展歷程；分析相關(guān)音頻、視頻文本，研究三弦在流行音樂中的存在以及地位。筆者在文獻研究基礎(chǔ)上結(jié)合所記錄譜例，分析旋律法則、節(jié)奏特征、和聲織體和演奏版本等，從而得出三弦與流行音樂相結(jié)合的技術(shù)實證。第一章，筆者對流行音樂在中國的歷史沿革進行了梳理，著重介紹近20年間三弦在流行音樂中的存在實例，找出研究不足：三弦與流行音樂結(jié)合的相關(guān)文獻幾近空缺。第二章，筆者分析了含有三弦的流行音樂，結(jié)合所記錄譜例、歌詞，加以說明流行音樂在中國本土化的技術(shù)實證；介紹新款三弦（待命名）的制作概念及創(chuàng)新特點。目前，學術(shù)界對三弦和流行音樂的結(jié)合方面，關(guān)注度不夠，，理論層面甚至稀缺。本文對三弦和流行音樂結(jié)合的活態(tài)研究，以及對這一音樂現(xiàn)象的關(guān)注，希望可以填補這一種音樂文本的理論空白，豐富我國三弦多樣性發(fā)展。此外，三弦不僅在傳統(tǒng)音樂、現(xiàn)代音樂中傳承，在流行音樂中國本土化的過程中，三弦的參與本身就是可資借鑒的寶貴經(jīng)驗。
[Abstract]:In the past 20 years, with the deepening of China's reform and opening up, the rapid development of economy and the rooting of culture, pop music has flourished in China. During this period, it has absorbed many elements of Chinese music and enriched the arrangement of pop music. Style and form of performance. With the localization of pop music in China, Sanxian has become the characteristic part of its development, and the pop music style of "Beijing folk ballad" has appeared. To this day, songs such as He Yong's Zhong Drum Tower are still popular music classics. In the 2014 Spring Festival Gala, Hao Yun's original folk song "I will not reply" uses a large three-string paragraph. And "three string" has become the hot keyword of network search. The research object of this paper is focused on the music phenomenon and development process of the combination of three strings and pop music in the past 20 years, analyzes the related audio and video texts, studies the existence and status of the three strings in pop music. On the basis of the literature research, the author combines the recorded examples, analyzes the melody rule, rhythm characteristics, harmony texture and performance version, and obtains the technical demonstration of the combination of three strings and pop music. In the first chapter, the author combs the historical evolution of pop music in China, emphatically introduces the existence of three strings in pop music in the past 20 years, and finds out the lack of research: the combination of three strings and pop music is almost vacant. In the second chapter, the author analyzes the popular music with three strings, combined with the recorded examples and lyrics, to illustrate the technical demonstration of the localization of pop music in China, and introduces the production concept and innovative characteristics of the new three-string (standby name). At present, academic circles pay less attention to the combination of three strings and pop music, and the theoretical level is even scarce. This paper studies the living state of the combination of three strings and pop music and pays close attention to this musical phenomenon, hoping to fill in the theoretical blank of this musical text and enrich the diversity of the three strings in China. In addition, three strings not only in traditional music, modern music inheritance, in the process of Chinese pop music localization, the participation of three strings itself is a valuable experience to be used for reference.
【學位授予單位】：中國音樂學院
【學位級別】：碩士
【學位授予年份】：2014
【分類號】：J632.34

【參考文獻】

相關(guān)期刊論文 前4條

1 劉曉英;戲曲院校三弦教學中的音準問題[J];人民音樂;1997年04期

2 王思琦;“流行音樂”的概念及其文化特征[J];音樂藝術(shù)(上海音樂學院學報);2003年03期

3 陳天國;用心血澆灌花朵的園丁——記中國音樂學院教授肖劍聲[J];人民音樂;1989年12期

4 肖劍聲;檀龍新聲——86型高音三弦簡介[J];人民音樂;1992年12期

本文編號：2163144