【摘要】：聲樂藝術(shù)是一種技術(shù),更是一種關(guān)于人的文化。近年來,通過一代代聲樂藝術(shù)家的積極努力,中國(guó)的民族聲樂藝術(shù)不斷傳承創(chuàng)新,取得了較大的發(fā)展。在這個(gè)過程中,眾學(xué)者從不同角度和側(cè)面出發(fā),對(duì)聲樂藝術(shù)表現(xiàn)及其本質(zhì)進(jìn)行了研究,并取得了較多的成果。但是已發(fā)表的相關(guān)專著及論文中,大多偏重于對(duì)聲樂作品的分析而忽視了對(duì)聲樂藝術(shù)家的專門研究,使得中國(guó)民族聲樂傳承有一定程度的缺失而不能全面系統(tǒng)的發(fā)展。 本文以蘭州軍區(qū)戰(zhàn)斗文工團(tuán)獨(dú)唱演員尼瑪拉毛為研究對(duì)象,介紹其成長(zhǎng)經(jīng)歷及藝術(shù)發(fā)展過程,在此基礎(chǔ)上對(duì)其十幾年的中國(guó)民族聲樂藝術(shù)表演經(jīng)歷,特別是藏族民歌的傳承、交融及再創(chuàng)作方面進(jìn)行總結(jié),通過對(duì)其聲樂作品的研究展現(xiàn)尼瑪拉毛獨(dú)有的演唱特征及藝術(shù)特色,進(jìn)而推動(dòng)大眾對(duì)于聲樂藝術(shù)的認(rèn)識(shí)及對(duì)藏族民歌的體會(huì),彌補(bǔ)了聲樂領(lǐng)域?qū)ι贁?shù)民族聲樂藝術(shù)家研究的不足。 對(duì)于本課題的研究,本論文通過以下五部分呈現(xiàn)：第一章緒論部分,主要對(duì)藏族民歌特點(diǎn)和尼瑪拉毛、才旦卓瑪、常留柱三位藝術(shù)家進(jìn)行了簡(jiǎn)單介紹。第二章主要闡述了尼瑪拉毛的從藝經(jīng)歷,第三章分析了尼瑪拉毛的演唱理念和演唱特色,并將其與才旦卓瑪和同時(shí)期民族歌手的聲樂藝術(shù)進(jìn)行比較分析；第四章介紹尼瑪拉毛的成就歸因；第五章綜述尼瑪拉毛聲樂藝術(shù)研究,對(duì)當(dāng)前民族聲樂發(fā)展進(jìn)行思考,并對(duì)未來民族聲樂發(fā)展提出構(gòu)想。
[Abstract]:Vocal music art is a kind of technology, but also a kind of human culture. In recent years, through the active efforts of generations of vocal artists, Chinese national vocal art has been continuously inherited and innovated, and has made great progress. In this process, many scholars from different angles and aspects of vocal performance and the nature of the study, and achieved a lot of results. However, most of the published monographs and papers focus on the analysis of vocal music works and ignore the special research on vocal music artists, which makes the Chinese national vocal music inheritance lack of a certain degree and can not be fully and systematically developed. In this paper, Nimarama, a soloist of the Lanzhou military Regiment, is taken as the research object to introduce his growing up experience and art development process. On this basis, the author gives an account of his more than ten years of Chinese national vocal music performance experience, especially the inheritance of Tibetan folk songs. In the aspect of blending and re-creation, through the study of his vocal music works, he shows the unique singing and artistic characteristics of Nimara Mao, and then promotes the public's understanding of vocal music art and the understanding of Tibetan folk songs. It makes up for the lack of research on minority vocal artists in the field of vocal music. For the research of this topic, this paper presents through the following five parts: the first chapter of the introduction, mainly on the Tibetan folk songs and the characteristics of Nimalama, Cedain Zhoima, Changliu three artists for a brief introduction. The second chapter mainly expounds the experience of Nimarama from the art, the third chapter analyzes the singing concept and characteristics of Nimarama, and compares it with Cedain Zhoima and the vocal art of the national singers of the same period. The fourth chapter introduces the achievement attribution of Nimarama, the fifth chapter summarizes the study of the vocal music art of Nimala, thinks about the development of the national vocal music, and puts forward some ideas for the future development of the national vocal music.
【學(xué)位授予單位】：山東大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類號(hào)】：J616.2

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本文編號(hào)：2309627