本文關(guān)鍵詞：山東臨沂民間樂舞藝術(shù)的傳承及發(fā)展研究　出處：《河北師范大學(xué)》2015年碩士論文　論文類型：學(xué)位論文

  更多相關(guān)文章： 臨沂 民間樂舞 傳承 發(fā)展

【摘要】：樂舞,是將詩詞吟唱、樂器演奏、舞蹈表演相結(jié)合并同步呈現(xiàn)的一種綜合性藝術(shù)表現(xiàn)形式,源于先民的生活,早期樂舞多用于祭祀或?qū)m廷盛典,伴隨著社會的進(jìn)步、經(jīng)濟的發(fā)展和文明程度的提高,民間樂舞蓬勃發(fā)展,樂舞的功能也由娛神演變到娛人,后還增加了自娛的功能。臨沂地區(qū)的民間樂舞歷史悠久,種類繁多,風(fēng)格鮮明,目前所存形式主要有秧歌、假形舞、燈舞、鼓舞等,手中多有道具,鑼鼓樂與之相合。樂舞是臨沂地區(qū)民族文化的靈魂載體,能體現(xiàn)當(dāng)?shù)氐膫鹘y(tǒng)文化、風(fēng)俗習(xí)慣和精神生活,具有重要的研究價值。目前,由于歷史和社會原因,一些樂舞藝術(shù)已面臨傳承危機,瀕臨遺失。當(dāng)?shù)卣谋Ｗo(hù)政策和民間藝人的創(chuàng)新努力雖為其拓展了一定的生存空間,但是面對現(xiàn)代經(jīng)濟社會的取舍,民間樂舞發(fā)展的被動地位始終沒有改變。任何藝術(shù)形式都是為了滿足民眾生產(chǎn)、生活和精神的需要而產(chǎn)生,臨沂的民間樂舞即是當(dāng)?shù)孛癖娎脷g歌妙舞的形式追求美好生活,展現(xiàn)生命激情最直觀的見證。在對這份“活化石”傳承和發(fā)展的過程中,我們不僅要利用高科技的保護(hù)手段,具備充實的心理認(rèn)知和擁有詳實的資料儲備,我們還應(yīng)當(dāng)建立理性系統(tǒng)的操作機制、充分利用產(chǎn)業(yè)化推廣建設(shè)和教育創(chuàng)新傳承,否則樂舞藝術(shù)也只能是永遠(yuǎn)地停留在被保護(hù)階段,并最終成為博物館或圖書館里被觀望的欣賞品,不再擁有真正的活力與震撼力。本文的研究共分為五部分:第一部分緒論主要闡述了臨沂民間樂舞藝術(shù)傳承發(fā)展的選題背景、研究現(xiàn)狀綜述、論文研究思路流程、研究目的以及論文開展所使用的研究方法;第二部分是對臨沂民間樂舞藝術(shù)的概述。首先是對其生存環(huán)境的分析,主要從地理環(huán)境和人文環(huán)境兩個方面進(jìn)行解析討論;其次是深入挖掘各類文獻(xiàn)資料,結(jié)合自己的分析對臨沂民間樂舞藝術(shù)歷史發(fā)展進(jìn)行梳理總結(jié)。第三部分包含三個方面的內(nèi)容,其一是對臨沂各縣區(qū)的民間樂舞進(jìn)行詳細(xì)研究,分析種類特征、文化內(nèi)涵、表現(xiàn)形式,在前人研究的基礎(chǔ)之上進(jìn)行了更系統(tǒng)的創(chuàng)新研究,探討了某些樂舞之間的相互聯(lián)系;其二是總結(jié)了臨沂樂舞的系統(tǒng)特點;其三是對臨沂民間樂舞的社會價值功能進(jìn)行分析研究。第四部分是對臨沂民間樂舞的傳承現(xiàn)狀及策略研究,這一章節(jié)也是本文的重點章節(jié)。首先對臨沂民間樂舞的傳承現(xiàn)狀從優(yōu)良環(huán)境及不利因素兩方面進(jìn)行剖析其發(fā)展前景,然后通過總結(jié)的問題分別從政府政策主導(dǎo)、社區(qū)活動補充、品牌產(chǎn)業(yè)化推廣、舞蹈教育拓展等四個維度進(jìn)行策略探討。第五部分結(jié)論是對全文最后的歸納和總結(jié)。
[Abstract]:Music and dance is a kind of comprehensive artistic expression which combines poetry, musical instrument performance and dance performance. It originates from the life of the ancestors, and early music and dance is mostly used for sacrifice or palace festival. With the progress of society, the development of economy and the improvement of civilization, folk music and dance flourish, and the function of music and dance evolves from entertainment god to entertainment people. The folk music and dance in Linyi area has a long history, various types and distinctive styles. At present, there are mainly Yangko, false form dance, lantern dance, inspiration and so on, and there are many props in the hands. Music and dance is the soul carrier of the national culture in Linyi region, which can reflect the local traditional culture, customs and spiritual life, has important research value. At present, due to historical and social reasons. Some music and dance art has been faced with inheritance crisis, near loss. The protection policy of local government and the innovative efforts of folk artists have opened up a certain living space for them, but in the face of modern economic and social trade-offs. The passive position of folk music and dance development has not changed. Any art form is to meet the needs of people's production, life and spirit. Linyi folk music and dance is the local people using the form of singing and dancing to pursue a better life, showing the most intuitive witness of the passion of life. In the process of inheritance and development of this "living fossil". We should not only make use of high-tech means of protection, have full psychological cognition and have detailed data reserve, but also establish the operation mechanism of rational system. Make full use of the industrialization promotion construction and education innovation inheritance, otherwise the music and dance art can only stay in the protected stage forever, and finally become the museum or the library is wait-and-see appreciation. This paper is divided into five parts: the first part of the introduction mainly describes the background of Linyi folk music and dance art inheritance and development of the topic background, research status summary. The research thought flow, research purpose and the research methods used in the paper development; The second part is an overview of Linyi folk music and dance art. Firstly, it analyzes the living environment of Linyi folk music and dance, mainly from the two aspects of geographical environment and human environment. The second is to dig into all kinds of literature, combined with their own analysis of Linyi folk music and dance art history development combing and summing up. The third part contains three aspects of content. The first is the detailed study of the folk music and dance in Linyi counties and districts, the analysis of the types of characteristics, cultural connotations, forms of expression, on the basis of previous studies on the basis of a more systematic and innovative research. The relationship between some music and dance is discussed. The second is the summary of Linyi music and dance system characteristics; The third part is to analyze the social value function of Linyi folk music and dance. 4th part is to Linyi folk music and dance inheritance status and strategy research. This chapter is also the key chapter of this paper. First of all, the present situation of Linyi folk music and dance from the good environment and adverse factors to analyze its development prospects, and then through the summary of issues from the government policy led. Community activities supplement, brand industrialization promotion, dance education expansion four dimensions to explore the strategy. 5th part of the conclusion is the final summary of the full text.
【學(xué)位授予單位】：河北師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2015
【分類號】：J722.21

【參考文獻(xiàn)】

相關(guān)期刊論文 前10條

1 韓延明;;沂蒙文化生成與演進(jìn)的歷史分期摭探[J];山東師范大學(xué)學(xué)報(人文社會科學(xué)版);2015年01期

2 吳紅葉;;基于文化生態(tài)視角的地方民間舞蹈傳承探析[J];長春師范大學(xué)學(xué)報;2014年11期

3 王小林;;民族民間舞蹈的繼承創(chuàng)新與發(fā)展探析[J];長沙鐵道學(xué)院學(xué)報(社會科學(xué)版);2014年04期

4 張文濤;;沂蒙“猴呱嗒鞭舞”的文化解讀與挖掘保護(hù)[J];搏擊(體育論壇);2014年04期

5 田中娟;;地方高校藝術(shù)教育與當(dāng)?shù)孛耖g藝術(shù)資源開發(fā)的互動機制研究[J];云南藝術(shù)學(xué)院學(xué)報;2013年04期

6 馬雯;;非物質(zhì)文化遺產(chǎn)視角下的花鼓燈藝術(shù)的生存現(xiàn)狀及傳承對策研究[J];長春教育學(xué)院學(xué)報;2013年21期

7 劉成學(xué);;沂蒙民間樂舞“撲蝴蝶”探究[J];華夏文化;2012年02期

8 田麗萍;;河北民間舞蹈文化產(chǎn)業(yè)現(xiàn)狀及發(fā)展對策研究[J];河北師范大學(xué)學(xué)報(哲學(xué)社會科學(xué)版);2010年05期

9 薛雷;;“拉魂腔”淵源及形成考辨[J];中國音樂;2010年03期

10 馬達(dá);;美國多元文化音樂教育的發(fā)展及其啟示[J];音樂研究;2009年06期

，

本文編號：1383352