本文選題：藝術(shù)人類(lèi)學(xué) + 二人臺(tái)　； 參考：《東北師范大學(xué)》2012年碩士論文

【摘要】：二人臺(tái)是由蒙漢兩個(gè)民族長(zhǎng)期交流、文化之間的相互碰撞產(chǎn)生的藝術(shù)表演形式，是蒙漢兩族文化融合的產(chǎn)物。它是流行于內(nèi)蒙古自治區(qū)以及河北、陜西、山西等幾個(gè)省區(qū)范圍內(nèi)的地方劇種。二人臺(tái)藝術(shù)經(jīng)過(guò)很長(zhǎng)時(shí)間的歷史發(fā)展，積累劇目近百余個(gè)。二人臺(tái)集民歌、戲曲、說(shuō)唱、民間歌舞、器樂(lè)等表演形式為一體，以枚、四胡、揚(yáng)琴為伴奏樂(lè)器，是一種綜合的民間藝術(shù)品種。二人臺(tái)的音樂(lè)風(fēng)格鮮明、富有地域色彩，主要活動(dòng)在城鄉(xiāng)的社會(huì)生活中。從藝術(shù)形式上看，內(nèi)蒙古的二人臺(tái)與東北的二人轉(zhuǎn)相似，但是從歷史角度看，二人臺(tái)的存在已有將近160多年的歷史。但是就是有著這樣深厚文化底蘊(yùn)的二人臺(tái)音樂(lè)卻沒(méi)能夠得到迅速的發(fā)展，甚至正面臨著無(wú)人繼承的尷尬局面。 本文就是從藝術(shù)人類(lèi)學(xué)的視角出發(fā)，把內(nèi)蒙古的二人臺(tái)音樂(lè)作為藝術(shù)人類(lèi)學(xué)的個(gè)案研究對(duì)象，通過(guò)對(duì)二人臺(tái)源流、音樂(lè)文化現(xiàn)象、發(fā)展的原因及保護(hù)傳承等方面的研究，剖析二人臺(tái)音樂(lè)在內(nèi)蒙古的歷史流變以及它受內(nèi)蒙古地域文化影響在語(yǔ)言、服飾、曲牌上產(chǎn)生的變化，以及傳承保護(hù)中有待于我們?nèi)ソ鉀Q的問(wèn)題。 全文由三個(gè)部分組成，第一部分的緒論里主要介紹了選題的理由、背景、研究的目的等，交代了論文主要研究的對(duì)象。第二部分的本論分為三個(gè)部分組成，首先文章開(kāi)頭概述了二人臺(tái)音樂(lè)的歷史淵源及稱(chēng)謂由來(lái)，通過(guò)二人臺(tái)產(chǎn)生發(fā)展的流變，闡述二人臺(tái)的發(fā)展過(guò)程。其次文章第二部分通過(guò)藝術(shù)人類(lèi)學(xué)的視角研究二人臺(tái)的音樂(lè)文化現(xiàn)象，了解它的民族性、民間性和藝術(shù)性，內(nèi)蒙古文化特點(diǎn)對(duì)二人臺(tái)的影響，以及二人臺(tái)與內(nèi)蒙古文化相融合從而得到發(fā)展的原因，通過(guò)二人臺(tái)的音樂(lè)構(gòu)成、唱腔、牌子曲、音樂(lè)特點(diǎn)等方面的研究，了解二人臺(tái)音樂(lè)的形成和發(fā)展。最后文章的第三部分從對(duì)二人臺(tái)實(shí)施保護(hù)的目的、已經(jīng)取得的成果和現(xiàn)階段存在的問(wèn)題入手，解決二人臺(tái)在現(xiàn)今社會(huì)發(fā)展所面臨的問(wèn)題，第三部分結(jié)論中綜合前兩部分，對(duì)二人臺(tái)的研究作出藝術(shù)人類(lèi)學(xué)視角下的總結(jié)，二人臺(tái)的傳統(tǒng)并沒(méi)有丟失，雖然二人臺(tái)的發(fā)展吸收了很多現(xiàn)代的表現(xiàn)形式，但是傳統(tǒng)仍然是二人臺(tái)身體流淌的血液。在二人臺(tái)保護(hù)的措施上還存在這很多的問(wèn)題，但是傳統(tǒng)的藝術(shù)不能丟棄，二人臺(tái)音樂(lè)的發(fā)展還需要我們更多地關(guān)注。
[Abstract]:The two-man stage is a form of artistic performance produced by the long-term exchange of Mongolian and Chinese nationalities and the collision of cultures, and it is the product of the fusion of Mongolian and Chinese cultures. It is popular in Inner Mongolia Autonomous region as well as Hebei, Shaanxi, Shanxi and other provinces within the scope of local drama. After a long period of historical development, the two-man-Taiwan art has accumulated more than 100 repertoire. With folk songs, operas, rappers, folk songs and dances, instrumental music and other performing forms, the two-person stage is a comprehensive folk art variety with Mei, Hu and yangqin as accompaniment instruments. Their musical style is bright, rich in regional color, mainly in urban and rural social life. In terms of artistic form, the Er-Ren stage in Inner Mongolia is similar to that in Northeast China, but from the historical point of view, it has existed for more than 160 years. However, the music of two people with such a profound cultural background has not been able to develop rapidly, and even is facing the awkward situation of no one inheriting it. From the perspective of artistic anthropology, this paper regards Er-Ren Tai music in Inner Mongolia as the case study object of art anthropology. Through the research on the origin of Er-Ren Taiwan, musical and cultural phenomena, the causes of development and the protection and inheritance, etc. This paper analyzes the historical evolution of Errentai music in Inner Mongolia and the changes in language, costume and music, and the problems that need to be solved in the process of inheritance and protection under the influence of Inner Mongolia regional culture. The first part of the introduction mainly introduces the reason, background, purpose of the research, and explains the main research object. The second part is divided into three parts. At the beginning of the article, it summarizes the historical origin and the origin of the appellation of Errentai music, and expounds the development process of Errentai through the evolution of the development of Errentai. Secondly, the second part of the article studies the musical and cultural phenomenon of Errentai from the perspective of artistic anthropology, and understands its nationality, folklore and artistry, and the influence of Inner Mongolia cultural characteristics on Errentai. And the reason that the two people station and Inner Mongolia culture merge to get the development, through the research of the music composition, singing, brand music, music characteristic of the two people station, understand the formation and development of the two person stage music. Finally, the third part of the article from the implementation of the purpose of the two-person station protection, has achieved results and existing problems at this stage, to solve the current social development of the two-person station facing problems, the third part of the conclusion of the first two parts, From the perspective of artistic anthropology, the research on Errentai is summarized. The tradition of Errentai is not lost. Although the development of Errentai absorbs a lot of modern forms of expression, tradition is still the blood flowing through the body of Errentai. There are still many problems in the protection of the two-person station, but the traditional art can not be discarded. The development of the two-person station music still needs us to pay more attention to.
【學(xué)位授予單位】：東北師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2012
【分類(lèi)號(hào)】：J825

【參考文獻(xiàn)】

相關(guān)期刊論文 前10條

1 熊曉輝;;藝術(shù)人類(lèi)學(xué)與人文主義[J];昌吉學(xué)院學(xué)報(bào);2009年06期

2 王璧永 ,王麗;東路二人臺(tái)藝術(shù)發(fā)展的思考[J];大舞臺(tái);2005年02期

3 王世一,李野;《二人臺(tái)概論》提綱[J];內(nèi)蒙古藝術(shù);1998年02期

4 閻生華;尋找二人臺(tái)的藝術(shù)定位和文化定位[J];內(nèi)蒙古藝術(shù);2001年02期

5 縱麗娟;展示草原文化的魅力——談二人臺(tái)小戲的民族性與民間性[J];內(nèi)蒙古藝術(shù);2004年02期

6 蔡登云;從源流沿革談二人臺(tái)藝術(shù)的群眾性[J];內(nèi)蒙古藝術(shù);2004年02期

7 王秀玲;;二人臺(tái)民間戲班觀演關(guān)系考察[J];四川戲劇;2009年05期

8 賀宇;姜曉芳;;內(nèi)蒙古二人臺(tái)唱腔音樂(lè)的旋律形態(tài)[J];陰山學(xué)刊;2008年03期

9 王鳳云;;初探二人臺(tái)唱腔之美[J];中國(guó)音樂(lè);2008年02期

10 王鑫;;晉西北二人臺(tái)的演唱風(fēng)格[J];中國(guó)音樂(lè);2008年03期

，

本文編號(hào)：2112916