【摘要】：東北民歌是我國(guó)地方民歌的一種，以它獨(dú)有的審美特征與藝術(shù)魅力成為我國(guó)民族聲樂的瑰寶，自立于中國(guó)和世界樂壇。而東北民歌本身，既是一座豐富的藝術(shù)寶庫(kù)，又是一項(xiàng)復(fù)雜的系統(tǒng)工程。本文以東北民歌的審美主體為切入點(diǎn)，對(duì)其三個(gè)審美主體進(jìn)行了方向研究。全文共分三大部分：第一大部分是東北民歌第一審美主體（詞曲作者）的方向研究，包括第一審美主體的藝術(shù)地位、第一審美主體的藝術(shù)修養(yǎng)、第一審美主體的“一度創(chuàng)作”（又包括把握東北民歌的審美特征、凸顯東北民歌的藝術(shù)地位、了解東北民歌的藝術(shù)成就、表現(xiàn)東北民歌的思想內(nèi)容、體現(xiàn)東北民歌的藝術(shù)形式）。第二大部分是東北民歌第二審美主體（演唱者、伴奏者）的方向研究，又包括第二審美主體的藝術(shù)地位、第二審美主體的藝術(shù)修養(yǎng)、第二審美主體的“二度創(chuàng)作”（又包括把握東北民歌的流派歸屬、領(lǐng)悟東北民歌的審美特征、對(duì)文本的解讀與詮釋、對(duì)歌曲的全方位創(chuàng)造與多元化創(chuàng)新、東北民歌的器樂伴奏）。第三大部分是東北民歌第三審美主體（受眾）的方向研究，包括第三審美主體的概念內(nèi)涵、第三審美主體的藝術(shù)地位、第三審美主體的藝術(shù)修養(yǎng)、第三審美主體的“三度創(chuàng)作”（又包括了解東北民歌的音樂語(yǔ)言、把握東北民歌的審美特征、欣賞東北民歌的思想內(nèi)容、欣賞東北民歌的藝術(shù)形式、欣賞過程中的再創(chuàng)造）。 通過三大審美主體的方向研究，建構(gòu)起一個(gè)全方位、系列化、深層次的系統(tǒng)論的理論框架。力求對(duì)東北民歌的創(chuàng)新發(fā)展，從美學(xué)高度上提供理性思辨與藝術(shù)實(shí)踐的雙重參照系。
[Abstract]:Northeast folk song is a kind of local folk song in our country. With its unique aesthetic characteristics and artistic charm, it becomes the treasure of Chinese national vocal music and stands on its own in the music world of China and the world. The Northeast folk song itself is not only a rich treasure house of art, but also a complex system engineering. In this paper, the three aesthetic subjects of Northeast folk songs are studied. The thesis is divided into three parts: the first part is the research on the direction of the first aesthetic subject of Northeast folk songs, including the artistic status of the first aesthetic subject, the artistic accomplishment of the first aesthetic subject, The "once creation" of the first aesthetic subject (including grasping the aesthetic characteristics of the Northeast folk songs, highlighting the artistic status of the Northeast Folk songs, understanding the artistic achievements of the Northeast Folk songs, and showing the ideological content of the Northeast Folk songs) Embody the art form of northeast folk song). The second part is the research on the direction of the second aesthetic subject of northeast folk song (singer, accompaniment), including the artistic status of the second aesthetic subject and the artistic accomplishment of the second aesthetic subject. The second creation of the second aesthetic subject (including grasping the school ownership of the Northeast folk songs, understanding the aesthetic characteristics of the Northeast folk songs, interpreting and interpreting the text, creating and diversifying the songs in all directions) Instrumental accompaniment of Northeast Folk songs The third part is the research on the direction of the third aesthetic subject (audience) of the Northeast folk song, including the concept connotation of the third aesthetic subject, the artistic status of the third aesthetic subject, the artistic accomplishment of the third aesthetic subject, The third aesthetic subject's "three creation" (including understanding the music language of Northeast folk songs, grasping the aesthetic characteristics of Northeast Folk songs, appreciating the ideological contents of Northeast Folk songs, appreciating the artistic forms of Northeast Folk songs and re-creating in the process of appreciation). Through the research of the three major aesthetic subjects, a theoretical framework of the omnidirectional, serialized and deep-seated system theory is constructed. Aiming at the innovation and development of folk songs in Northeast China, it provides a dual frame of reference for rational speculation and artistic practice from the aesthetic level.
【學(xué)位授予單位】：哈爾濱師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類號(hào)】：J607

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本文編號(hào)：2316938