本文選題：京韻大鼓 + 歷史發(fā)展��； 參考：《河南師范大學(xué)》2011年碩士論文

【摘要】：京韻大鼓形成于清朝末年,流行于北京、天津兩地,是我國(guó)北方著名的曲藝音樂藝術(shù)形式之一,素有“南彈北鼓”之說(彈指蘇州彈詞)。京韻大鼓歷時(shí)百年,在全國(guó)的鼓曲中享有很高的地位。因?yàn)槠涫褂帽本┱Z(yǔ)音為唱腔語(yǔ)言,以“說唱結(jié)合”的形式,以唱為主,夾京腔韻白,所表現(xiàn)內(nèi)容都是群眾喜聞樂見的歷史故事,譬如《三國(guó)》或《紅樓》選段,表演形式簡(jiǎn)單,所以受到廣大群眾的喜愛,被譽(yù)為“曲藝之冠”。但目前,隨著市場(chǎng)經(jīng)濟(jì)的發(fā)展和電視、網(wǎng)絡(luò)等媒體的傳播,京韻大鼓在這一時(shí)代浪潮的沖擊下,漸漸淡出人們的生活,成為我國(guó)“口頭非物質(zhì)文化遺產(chǎn)”。面對(duì)曾經(jīng)極為受到群眾喜愛的曲藝品種走向衰敗這一問題,值得我們思考。本文以現(xiàn)有的文獻(xiàn)資料,歸納總結(jié),比較分析,從京韻大鼓的形成與發(fā)展過程,主要流派的唱腔特征與流派唱腔比較、我國(guó)民族聲樂對(duì)京韻大鼓唱腔上的可借鑒性三方面來闡述京韻大鼓的歷史發(fā)展和現(xiàn)實(shí)性問題,進(jìn)而論證京韻大鼓唱腔的科學(xué)性和可借鑒性特點(diǎn)。本文主要內(nèi)容有以下幾個(gè)方面: (1)緒論。追溯京韻大鼓的歷史淵源和發(fā)展形成的概況,從京韻大鼓的形成發(fā)展和興盛時(shí)期再到建國(guó)后五六十年代的新生時(shí)期,以及近幾年來的衰敗,從不同時(shí)期論證了京韻大鼓的發(fā)展特點(diǎn)和唱腔特點(diǎn),以及不同時(shí)期的代表人物和作品。 (2)對(duì)京韻大鼓唱腔藝術(shù)的基本特征進(jìn)行分析。主要從四個(gè)方面入手:一是唱詞特點(diǎn);二是三大基本唱腔和三種派生唱腔特點(diǎn);三是京韻大鼓的板式與唱腔運(yùn)用;四是京韻大鼓的腔詞關(guān)系。 (3)主要流派唱腔特征和流派唱腔比較。通過對(duì)不同流派代表人物嗓音特點(diǎn),唱腔風(fēng)格,代表作品的聲腔設(shè)計(jì)特點(diǎn),分析歸納總結(jié)出各流派唱腔的特點(diǎn)并比較各流派唱腔之間的相同點(diǎn)與不同點(diǎn)。 (4)我國(guó)民族聲樂對(duì)京韻大鼓唱腔上的可借鑒性。本章屬于本論文的創(chuàng)新之處,也是研究京韻大鼓唱腔的現(xiàn)實(shí)意義。本章主要從京韻大鼓在發(fā)聲吐字、行腔歸韻、唱腔語(yǔ)言的說唱性特點(diǎn)和其抒情性唱段的藝術(shù)處理幾方面入手,尋找京韻大鼓唱腔和我國(guó)民族聲樂演唱之間的契合點(diǎn),從而論證京韻大鼓對(duì)我國(guó)民族聲樂演唱及以后發(fā)展道路的有益之處,并希望我國(guó)的民族聲樂能夠從京韻大鼓等曲藝音樂中吸收精華,從民族傳統(tǒng)文化中博采眾長(zhǎng),把中國(guó)博大精深的民族文化在創(chuàng)新中發(fā)揚(yáng)光大。
[Abstract]:Beijing rhyme Drum was formed in the late Qing Dynasty, popular in Beijing and Tianjin. It is one of the famous musical art forms of quyi in the north of China. Beijing rhyme Dagu lasted for a hundred years, in the country's drum music enjoy a high status. Because it uses Beijing pronunciation as the singing language, in the form of "rap and singing combination", mainly in singing, and in the rhyme of Beijing, the contents are all popular historical stories, such as the selected passages of "three Kingdoms" or "Honglou", in which the form of the performance is simple. So by the masses of love, known as the "quyi crown." But at present, with the development of market economy and the spread of TV, network and other media, the Jingyun Drum gradually fade out of people's life and become the "oral intangible cultural heritage" under the impact of the tide of this era. In the face of the decline of quyi varieties once loved by the masses, it is worth our consideration. Based on the existing literature, this paper summarizes, compares and analyzes the formation and development process of the Beijing rhyme drum, the characteristics of the main schools of singing and the comparison of the genre singing. This paper expounds the historical development and realistic problems of the Chinese national vocal music on the singing of Beijing Drum, and further demonstrates the scientific and referential characteristics of the singing of Beijing Dagu. The main contents of this paper are as follows: introduction. Tracing back to the historical origin and the general situation of the formation and formation of the Jingyun Dagu, from the formation and development of the Jingyun Dagu to the newborn period of the 1950s and 1960s after the founding of the people's Republic of China, as well as the decline of the last few years. This paper demonstrates the characteristics of the development and singing of Beijing Dagu in different periods, as well as the representative figures and works of different periods, and analyzes the basic characteristics of the singing art of Beijing Dagu. It mainly starts from four aspects: first, the characteristics of singing words; second, the characteristics of three basic singing and three kinds of derivative singing; Fourth, the relationship between the singing and ci of Beijing rhyme Dagu. 3) the comparison of the characteristics of the main schools of singing and the genre of singing. According to the characteristics of voice, singing style, and vocal design of the works of different genres, This paper analyzes and summarizes the characteristics of various schools of singing and compares the similarities and differences among them. 4) the reference of Chinese national vocal music to the singing of Beijing Drum. This chapter belongs to the innovation of this paper, and it is also the practical significance of studying Beijing rhyme drum singing. This chapter mainly starts from the aspects of singing and articulating in Beijing rhyme Drum, returning to rhyme in line, rap characteristics of singing language and the artistic treatment of its lyric singing segment, in order to find the point of convergence between the singing of Beijing Drum and the singing of Chinese national vocal music. Therefore, this paper demonstrates the advantages of the Jingyun Drum for the singing of Chinese national vocal music and its future development, and hopes that the national vocal music of our country can absorb the essence from the quyi music, such as the Jingyun Dagu, and learn from the traditional culture of the nation. Carry forward China's broad and profound national culture in innovation.
【學(xué)位授予單位】：河南師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2011
【分類號(hào)】：J826

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