【摘要】：達(dá)日瑪是可與馬頭琴大師齊寶力高相提并論得蒙古族馬頭琴藝術(shù)家,也是馬頭琴傳統(tǒng)演奏風(fēng)格的傳承者之一。 達(dá)日瑪是一位難得的蒙古族音樂(lè)全能人才。他不僅是一位著名的馬頭琴演奏家,而且也是一位琴質(zhì)改革家和作曲家。不僅在蒙古族馬頭琴演奏法的傳承與發(fā)展方面有著重要的影響,而且在音樂(lè)創(chuàng)作、琴質(zhì)改革等方面也有很高的造詣。他的藝術(shù)造詣和才華主要體現(xiàn)在馬頭琴演奏、音樂(lè)創(chuàng)作、馬頭琴教學(xué)以及樂(lè)器改革等方面。 本文通過(guò)研究達(dá)日瑪?shù)乃囆g(shù)人生,分析其代表性音樂(lè)作品和樂(lè)器改革等系列問(wèn)題,探究達(dá)日瑪?shù)乃囆g(shù)風(fēng)格和所獲成績(jī),旨在總結(jié)達(dá)日瑪對(duì)于蒙古族藝術(shù)事業(yè)的貢獻(xiàn)和在蒙古族音樂(lè)領(lǐng)域中的地位,使當(dāng)下和今后的人們以其為鑒,更好地發(fā)展民族音樂(lè)。 本論文主要框架共分為六個(gè)章節(jié)。引言部分闡明了選題動(dòng)機(jī),研究現(xiàn)狀,研究?jī)r(jià)值,研究方法；第一章主要敘述達(dá)日瑪?shù)乃囆g(shù)人生和創(chuàng)作生涯；第二章分類分析研究達(dá)日瑪?shù)难葑囡L(fēng)格,總結(jié)其獨(dú)特的演奏風(fēng)格和精湛的演奏技巧。主要通過(guò)對(duì)不同地域、不同時(shí)代對(duì)演奏風(fēng)格與技巧的影響來(lái)比較分析達(dá)日瑪?shù)莫?dú)特演奏風(fēng)格及技巧。第三章主要分析研究達(dá)日瑪音樂(lè)作品的形態(tài)特征,從器樂(lè)作品與聲樂(lè)作品等兩個(gè)方面進(jìn)行研究,歸納其整體的創(chuàng)作風(fēng)格。第四章里研究了達(dá)日瑪?shù)那儋|(zhì)改革實(shí)驗(yàn)。該部分主要圍繞達(dá)日瑪對(duì)馬頭琴和其他蒙古族樂(lè)器的改革與創(chuàng)新,總結(jié)其改革后的樂(lè)器在實(shí)踐中運(yùn)用的情況,研究其樂(lè)器改革后的得與失。第五章里研究了達(dá)日瑪?shù)鸟R頭琴教學(xué)與其他工作。主要通過(guò)分析和闡述達(dá)日瑪?shù)鸟R頭琴教學(xué)工作以及成立馬頭琴樂(lè)團(tuán),傳承和發(fā)展民族音樂(lè)的實(shí)踐經(jīng)驗(yàn)。第六章中主要研究達(dá)日瑪對(duì)馬頭琴藝術(shù)的貢獻(xiàn)。歸納上述幾個(gè)章節(jié)的內(nèi)容,綜合論述了達(dá)日瑪對(duì)蒙古族藝術(shù)的貢獻(xiàn)。
[Abstract]:Darima is a Mongolian horse-head artist and one of the inheritors of the traditional performance style of horse-head organ, which can be compared with Qi Baoligao, the master of horse-head organ. Darima is a rare all-round Mongolian music talent. He is not only a famous harpsichord player, but also a piano reformer and composer. It not only has an important influence on the inheritance and development of Mongolian maitou piano playing method, but also has high attainments in music creation, piano quality reform and so on. His artistic attainments and talents are mainly reflected in such aspects as the performance of the harp, the creation of music, the teaching of the maitouqin, and the reform of musical instruments. This paper studies Darima's artistic life, analyzes his representative musical works and musical instrument reform and so on, and explores Darima's artistic style and achievements. The purpose of this paper is to sum up Darima's contribution to Mongolian art and its position in the field of Mongolian music so that people in the present and in the future can learn from it and develop national music better. The main frame of this paper is divided into six chapters. In the preface, the motivation, the present situation, the value and the method of the research are expounded, and the first chapter mainly describes Darima's artistic life and creative career. The second chapter classifies and studies Darima's performance style, summarizes its unique performance style and exquisite performance skills. This paper compares and analyzes Darima's unique performance style and skill through the influence of different regions and times on performance style and skill. The third chapter mainly analyzes and studies the morphological characteristics of Darima's musical works, studies them from two aspects, such as instrumental works and vocal works, and sums up the overall creative style of Darima's music works. In the fourth chapter, the experiment of Darima's reform of piano quality is studied. This part mainly focuses on Darima's reform and innovation of Maitouqin and other Mongolian musical instruments, summarizes the application of the reformed instruments in practice, and studies the gains and losses of his musical instruments after the reform. The fifth chapter studies Darima's teaching of horse-head organ and other work. Mainly through the analysis and elaboration of Darima's teaching work of Ma Tou Qin and the establishment of Ma Tou Qin Orchestra to inherit and develop the practical experience of folk music. The sixth chapter mainly studies the contribution of Darima to the art of Ma Tou Qin. The contents of the above chapters are summarized, and the contribution of Darima to Mongolian art is comprehensively discussed.
【學(xué)位授予單位】：內(nèi)蒙古大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類號(hào)】：J632.26

【參考文獻(xiàn)】

相關(guān)期刊論文 前5條

1 阿爾賓達(dá)來(lái);;淺析馬頭琴演奏藝術(shù)的審美內(nèi)涵[J];教育革新;2006年03期

2 柯沁夫;馬頭琴源流考[J];內(nèi)蒙古大學(xué)學(xué)報(bào)(人文社會(huì)科學(xué)版);2001年01期

3 賈忠;;從《森吉德瑪》看鄂爾多斯蒙古族短調(diào)民歌的藝術(shù)特點(diǎn)[J];內(nèi)蒙古大學(xué)藝術(shù)學(xué)院學(xué)報(bào);2009年02期

4 色仁道爾吉;;潮爾藝術(shù)大師色拉西與當(dāng)代馬頭琴藝術(shù)教育[J];內(nèi)蒙古民族大學(xué)學(xué)報(bào);2007年06期

5 晨煒;林聲;;馬頭琴音樂(lè)人文精神意蘊(yùn)的歷史探尋[J];中國(guó)音樂(lè);2009年03期

相關(guān)博士學(xué)位論文 前1條

1 通拉嘎;蒙古族非物質(zhì)文化遺產(chǎn)研究[D];中央民族大學(xué);2010年

，

本文編號(hào)：2464956