本文選題：音樂 + 唱腔��； 參考：《首都師范大學(xué)》2009年碩士論文

【摘要】： 康巴諾爾二人臺是流行在張家口市康保等縣區(qū)一帶,以張家口壩上方言為語音特點(diǎn),以康巴諾爾二人臺音樂藝術(shù)為依托,集民歌、說唱、歌舞、戲曲等諸多藝術(shù)元素于一體的原生態(tài)民間藝術(shù),她是蒙漢藝人和文藝工作者用汗水澆灌出的一朵具有鮮明地方特色和濃郁生活氣息的藝術(shù)奇葩。2006年康巴諾爾二人臺獲得了國務(wù)院公布的首批“全國非物質(zhì)文化遺產(chǎn)保護(hù)名錄”的殊榮。筆者認(rèn)為研究康巴諾爾二人臺藝術(shù)具有非常重要的意義:保護(hù)家鄉(xiāng)的原生態(tài)音樂藝術(shù)遺產(chǎn);積累傳統(tǒng)音樂研究的一般方法;豐富民族聲樂的演唱理論。第四,提高個人民族聲樂的演唱素養(yǎng)。文章首先分析了康巴諾爾二人臺形成和發(fā)展,它形成的主要原因是獨(dú)特的人文地理因素為其形成奠定了堅實(shí)的基礎(chǔ)和當(dāng)時政策的寬松和經(jīng)濟(jì)相對繁盛為其形成創(chuàng)造了條件。由于康巴諾爾二人臺最初是群眾自娛自樂的自發(fā)性活動,它的成長與發(fā)展,經(jīng)歷了漫長坎坷的道路。經(jīng)過二人臺藝人的不斷努力,康巴諾爾二人臺藝術(shù)日臻完善,進(jìn)入新世紀(jì),迎來了她藝術(shù)的真正春天。其次,從康巴諾爾二人臺音樂的題材內(nèi)容、曲目來源、唱腔分類、音階、調(diào)式、曲體結(jié)構(gòu)、腔體、曲牌、板式、音樂的伴奏等各方面整理、分析了其獨(dú)特的風(fēng)格特點(diǎn),即:康巴諾爾二人臺的唱腔音樂來源于民歌,因此它遵循著民歌旋律形態(tài)的一般規(guī)律,同時又與壩上方言相結(jié)合,產(chǎn)生了一些新的特點(diǎn)和規(guī)律。牌子曲是供樂隊單獨(dú)演奏的器樂曲,來源于蒙、漢民歌、古曲、社火、佛曲、晉劇等戲曲曲牌,演奏風(fēng)格熱烈火熾。第三,康巴諾爾二人臺音樂唱腔自然優(yōu)美、嘹亮,有著單純、粗放、質(zhì)樸、精巧、深沉的特點(diǎn)。二人臺藝人們根據(jù)自身條件,包括嗓子的寬窄、高低、音色、音質(zhì)、音域等,以及自己的審美情趣,在基本曲調(diào)的基礎(chǔ)上創(chuàng)造出了多種行腔方法。即:襯腔、對兒字行腔、滿打滿唱、夾說帶唱、躲字閃梆、平唱高送、平打平唱、滾白等。其唱腔的極大的靈活性,產(chǎn)生了藝術(shù)的不同韻味。形成了自己鮮明的唱腔風(fēng)格。同時對康巴諾爾二人臺演唱者在呼吸、共鳴、吐字等方面應(yīng)進(jìn)行科學(xué)的發(fā)聲訓(xùn)練并提出個人的見解。第四,分析總結(jié)了康巴諾爾二人臺音樂藝術(shù)的方言語音特點(diǎn),即:古入聲在今方言中仍為一個獨(dú)立的聲調(diào);平聲不分陰陽;前后鼻音不分、翹舌音與不翹舌音不分以及個別韻母歸韻欠缺�？蛋椭Z爾二人臺從其誕生至今,已有百余年的歷史。隨著社會的發(fā)展和時代的進(jìn)步,康巴諾爾二人臺會在創(chuàng)新中求得生存、求得發(fā)展的,祝愿這朵扎根于農(nóng)村、散發(fā)著濃郁的鄉(xiāng)土氣息、盛開在文藝百花園中的藝術(shù)奇葩,綻放的更加絢麗妖嬈、多彩芬芳。
[Abstract]:Kangbanor is popular in Zhangjiakou City, Kangbao and other counties, with Zhangjiakou Bashang dialect as the phonetic characteristics, with the Kangbanor duo Taiwan music art as the support, collection of folk songs, rap, singing and dancing. The primitive ecological folk art with many artistic elements such as opera, She is a wonderful work of art with distinctive local characteristics and rich flavor of life, which is watered by Mongolian artists and artists with sweat. In 2006, Combarnole and her wife won the first batch of "National Intangible Cultural relics" published by the State Council. Protection of the list of products "special honor." The author thinks that it is of great significance to study the art of Kangbanor two people: to protect the original musical heritage of his hometown, to accumulate the general methods of traditional music research, and to enrich the singing theory of national vocal music. Fourth, improve the singing accomplishment of individual national vocal music. The paper first analyzes the formation and development of Cambanor's two-person station. The main reason for its formation is that the unique humanistic geographical factors laid a solid foundation for its formation and the loose policy and relatively prosperous economy at that time created the conditions for its formation. Because the Kangbanor duo originally was the spontaneous activity of the masses, its growth and development experienced a long and bumpy road. Through the unceasing efforts of the two artists, the art of Cambanor is becoming more and more perfect, entering the new century and ushered in the true spring of her art. Secondly, from the aspects of the subject matter, the source of the track, the classification of the singing, the scale, the mode, the structure, the cavity, the card, the board, the accompaniment of the music and so on, the unique style characteristics are analyzed. That is, the singing music of Kangbanor and Erren station comes from folk songs, so it follows the general rules of folk songs' melody and forms, and at the same time combines with Bashang dialect, which has some new characteristics and rules. Brand music is for the band to play solo instrumental music, from the Mongolian, Han folk songs, ancient music, fire, Buddhism, Jin opera and other operas, the playing style is incandescent. Thirdly, the Combanor duo's singing is natural and beautiful, clear, simple, extensive, simple, exquisite and deep. According to their own conditions, including voice width, height, tone color, tone quality, tone range, and their own aesthetic interests, the two artists have created a variety of line methods based on basic tunes. Namely: lining cavity, line on the child, full singing, clip with singing, dodging words flash bang, flat singing high send, flat singing, roll white, etc. The great flexibility of its singing has produced different lasting appeal of art. Formed their own distinctive singing style. At the same time, the singer of Cambanor's station should be trained scientifically in breathing, resonating and spelling, and put forward his own opinions. Fourthly, it analyzes and summarizes the phonetic characteristics of Kangbanor and Errentai's dialects, that is, the ancient intonation is still an independent tone in the present dialect, the flat voice is not divided between yin and yang, and the nasal sound is not distinguished from the front and the rear. Tongue-warping and non-tongue-breaking, as well as the absence of individual vowels. Kangbanor two-person station from its birth to now, has a history of more than 100 years. With the development of the society and the progress of the times, the Combanor two will seek to survive and develop in the process of innovation. May this flower be rooted in the countryside, exuding a strong local flavor, and blooming in a hundred gardens of literature and art. Blooming more gorgeous enchanting, colorful fragrance.
【學(xué)位授予單位】：首都師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2009
【分類號】：J825

【引證文獻(xiàn)】

相關(guān)碩士學(xué)位論文 前2條

1 李麗君;康保二人臺形成與發(fā)展研究[D];河北師范大學(xué);2011年

2 王穎;藝術(shù)人類學(xué)視角下的內(nèi)蒙古二人臺研究[D];東北師范大學(xué);2012年

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本文編號：2043451