臨沂民歌演唱風格探析
發(fā)布時間：2018-10-05 19:21
【摘要】：魯東南臨沂地區(qū)的民間歌曲是極其豐富多彩的，，在各縣流傳著許許多多不同題材、不同形式、不同風格的民歌。本文重點對山東臨沂地區(qū)民歌的演唱風格進行探討，這對今后進一步研究臨沂民歌乃至整個山東地區(qū)的民間音樂都是十分有益的。 全文共分為四大部分： 第一部分：臨沂民歌的文化背景。一個地方民歌的產(chǎn)生是有多方面復雜因素的影響而產(chǎn)生的。這部分主要從影響臨沂民歌產(chǎn)生和發(fā)展的三個主要因素來分析論述。即：歷史、地理、人文等三個方面，從而使我們對臨沂民歌風格形成的背景因素有一個大致的了解。 第二部分：對臨沂民歌的類型特征進行概述。由于臨沂民歌的數(shù)量很多，本文首先把臨沂民歌按照體裁進行了分類，然后逐類分述。由于臨沂民歌中的小調(diào)最能代表臨沂民歌風格的總體特征，因此，本章重點對臨沂民歌的小調(diào)從兩個主要方面進行了詳細的介紹。一、按照詞曲結(jié)合上所體現(xiàn)的風貌特色把臨沂民歌小調(diào)的風格分為：(一)強悍粗獷的；(二)抒情優(yōu)美的；(三)歡快活躍的；(四)幽默風趣的等幾種風格。從中我們可以看出民歌與人民生活的關(guān)系。二、分析臨沂民歌的旋律形態(tài)。 第三部分：臨沂民歌的演唱特征。筆者首先介紹了臨沂民歌演唱的地方色彩。當然我們要想把握好一個地方民歌的演唱特征，除了要了解民歌演唱的地方色彩，還應該學習當?shù)孛窀璧难莩椒�。為此筆者親自采訪了臨沂地區(qū)最具有代表性的民歌手，從歌唱的呼吸、歌唱的發(fā)聲、歌唱的共鳴、咬字吐字四個方面了解他們演唱的方法。接著又以譜例的形式對臨沂地區(qū)民歌的特色唱法進行了概括總結(jié)，主要有下列特色唱法：高腔唱法、顫音唱法、滑音唱法、斷腔唱法、襯字唱法等。 第四部分：臨沂民歌的傳承與發(fā)展。內(nèi)容豐富的臨沂民歌，在它的產(chǎn)生、流傳和演變過程中，吸納、消融和積淀了豐厚的臨沂地方文化。可以說，臨沂民歌既是一種藝術(shù)形式，也是一種文化象征。因此，本文從臨沂民歌的語言文化價值和歷史文化價值兩個方面探討了保護臨沂民歌的重要意義。第二節(jié)論述了臨沂民歌傳唱的現(xiàn)狀。隨著社會生產(chǎn)的發(fā)展，交通的便利和信息的傳播，以及經(jīng)濟和
[Abstract]:The folk songs in Linyi area of southeast Shandong are extremely colorful, and there are many folk songs with different themes, different forms and different styles in various counties. This paper mainly discusses the singing style of folk songs in Linyi area of Shandong Province, which is very helpful to further study the folk songs in Linyi area and even the folk music in Shandong area. The thesis is divided into four parts: the first part: the cultural background of Linyi folk songs. The production of a local folk song is influenced by many complicated factors. This part mainly from the Linyi folk song generation and development of the three main factors to analyze and discuss. Namely: history, geography, humanities and other three aspects, so that we have a general understanding of the background factors of the formation of Linyi folk song style. The second part: summarizes the type characteristics of Linyi folk songs. Due to the large number of Linyi folk songs, this paper first classifies Linyi folk songs according to genre, and then classifies them into categories. Because the minor of Linyi folk song can best represent the overall characteristics of Linyi folk song style, this chapter focuses on Linyi folk song minor from two main aspects of the detailed introduction. First, according to the style and features embodied in the combination of songs and songs, Linyi folk song minor style can be divided into: (1) tough and rough; (2) lyrical; (3) cheerful and active; (4) humorous and witty. From it we can see the relationship between folk songs and people's life. Second, analyze the melody form of Linyi folk song. The third part: the singing characteristics of Linyi folk songs. The author first introduces the local color of Linyi folk songs. Of course, if we want to grasp the singing characteristics of a local folk song, we should not only understand the local color of the folk song, but also learn the singing method of the local folk song. Therefore, the author personally interviewed the most representative folk singers in Linyi area, and understood their singing methods from the aspects of singing breath, singing voice, singing resonance and spelling. Then the paper sums up the characteristic singing method of Linyi area by taking the form of spectrum example, which includes the following characteristics: high-cavity singing, tremolo singing, slide singing, broken-cavity singing, lining singing and so on. The fourth part: the inheritance and development of Linyi folk songs. Linyi folk songs, which are rich in content, absorb, melt and accumulate rich local culture in the process of its emergence, dissemination and evolution. It can be said that Linyi folk song is not only an art form, but also a cultural symbol. Therefore, this paper discusses the significance of protecting Linyi folk songs from two aspects: the linguistic and cultural values and the historical and cultural values of Linyi folk songs. The second section discusses the current situation of Linyi folk songs. With the development of social production, the facilitation of transportation and the dissemination of information, as well as the economic and
【學位授予單位】：中央民族大學
【學位級別】：碩士
【學位授予年份】：2006
【分類號】：J616
本文編號：2254573
[Abstract]:The folk songs in Linyi area of southeast Shandong are extremely colorful, and there are many folk songs with different themes, different forms and different styles in various counties. This paper mainly discusses the singing style of folk songs in Linyi area of Shandong Province, which is very helpful to further study the folk songs in Linyi area and even the folk music in Shandong area. The thesis is divided into four parts: the first part: the cultural background of Linyi folk songs. The production of a local folk song is influenced by many complicated factors. This part mainly from the Linyi folk song generation and development of the three main factors to analyze and discuss. Namely: history, geography, humanities and other three aspects, so that we have a general understanding of the background factors of the formation of Linyi folk song style. The second part: summarizes the type characteristics of Linyi folk songs. Due to the large number of Linyi folk songs, this paper first classifies Linyi folk songs according to genre, and then classifies them into categories. Because the minor of Linyi folk song can best represent the overall characteristics of Linyi folk song style, this chapter focuses on Linyi folk song minor from two main aspects of the detailed introduction. First, according to the style and features embodied in the combination of songs and songs, Linyi folk song minor style can be divided into: (1) tough and rough; (2) lyrical; (3) cheerful and active; (4) humorous and witty. From it we can see the relationship between folk songs and people's life. Second, analyze the melody form of Linyi folk song. The third part: the singing characteristics of Linyi folk songs. The author first introduces the local color of Linyi folk songs. Of course, if we want to grasp the singing characteristics of a local folk song, we should not only understand the local color of the folk song, but also learn the singing method of the local folk song. Therefore, the author personally interviewed the most representative folk singers in Linyi area, and understood their singing methods from the aspects of singing breath, singing voice, singing resonance and spelling. Then the paper sums up the characteristic singing method of Linyi area by taking the form of spectrum example, which includes the following characteristics: high-cavity singing, tremolo singing, slide singing, broken-cavity singing, lining singing and so on. The fourth part: the inheritance and development of Linyi folk songs. Linyi folk songs, which are rich in content, absorb, melt and accumulate rich local culture in the process of its emergence, dissemination and evolution. It can be said that Linyi folk song is not only an art form, but also a cultural symbol. Therefore, this paper discusses the significance of protecting Linyi folk songs from two aspects: the linguistic and cultural values and the historical and cultural values of Linyi folk songs. The second section discusses the current situation of Linyi folk songs. With the development of social production, the facilitation of transportation and the dissemination of information, as well as the economic and
【學位授予單位】：中央民族大學
【學位級別】：碩士
【學位授予年份】：2006
【分類號】：J616
【共引文獻】
相關(guān)期刊論文 前1條
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相關(guān)博士學位論文 前1條
1 單林;稻作文化之谷[D];上海音樂學院;2007年
相關(guān)碩士學位論文 前8條
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