本文選題：回族花兒　切入點(diǎn)：吉木薩爾　出處：《新疆師范大學(xué)》2017年碩士論文　論文類型：學(xué)位論文

【摘要】：回族“花兒”自唐朝開始就有亞洲的伊斯蘭諸國逐漸引進(jìn)我國的西北地區(qū),并且隨著外族人民在西北地區(qū)的落戶定居,使得回族“花兒”不斷的發(fā)展壯大,逐漸的成為西北地區(qū)最重要的音樂表現(xiàn)形式之一�；刈濉盎▋骸笔且环N山歌品種,它是我國西北地區(qū)廣大人民智慧的結(jié)晶,其中承載著西北地區(qū)人民生產(chǎn)與生活的影像,其表達(dá)內(nèi)容的豐富多彩,所示意向的美好無一不顯示出廣大人民群眾在日常的生產(chǎn)勞作中的勤勞樸素和美好憧憬,可以說回族“花兒”是西北地區(qū)民眾將本民族熱情,勤勞,勇敢,堅(jiān)強(qiáng),樂于助人,對生活的熱愛以及對本民族信仰的崇拜與文化意識相結(jié)合的產(chǎn)物,是整個西北地區(qū)乃至全中國的文化瑰寶。新疆“花兒”在長期的歷史發(fā)展與文化演繹中,結(jié)合了新疆當(dāng)?shù)氐奈幕厣?不論是從風(fēng)格特征,語言特色或是旋律曲調(diào)等方面,都已經(jīng)烙上了具有新疆地域特色的文化烙印,具備獨(dú)特的藝術(shù)特征,逐漸的發(fā)展成為回族“花兒“的一種流派。而這種流派既繼承了回族“花兒”原有的風(fēng)格特征,又在此基礎(chǔ)上融入了特殊的地方文化特色,這在新疆昌吉地區(qū)尤為顯著,吉木薩爾作為昌吉地區(qū)回族“花兒”最重要的傳播地區(qū)之一,對于新疆回族“花兒”的發(fā)展與演繹具有重要的意義。[2]本論文的撰寫主要立足于新疆昌吉吉木薩爾地區(qū)的地域特色,歷史變遷以及筆者作為一個土生土長的吉木薩爾人對于該地區(qū)新疆回族“花兒”的發(fā)展的了解。并且結(jié)合相關(guān)的音樂專業(yè)知識,對新疆昌吉吉木薩爾回族“花兒”展開深入的分析。本次論文的撰寫共分為6個部分進(jìn)行。第一部分:該部分為本論文的緒論部分,這一部分筆者將對自身的寫作緣由,研究背景以及研究意義做以交代,并將前期的收集的相關(guān)文獻(xiàn)資料做以整體的總結(jié)綜述。第二部分:這一部分交代回族“花兒”的來源于傳入新疆地區(qū)的過程,此章是筆者引入新疆吉木薩爾回族“花兒”的基礎(chǔ)和前提。第三部分:這部分筆者通過對吉木薩爾地區(qū)的概況簡述,吉木薩爾地區(qū)回族“花兒”音樂類型的分類及其特點(diǎn)來交代新疆吉木薩爾地區(qū)回族“花兒”的相關(guān)概況。第四部分:該部分是此次論文撰寫的一個重要部分,對新疆吉木薩爾回族“花兒”的藝術(shù)特征進(jìn)行分析,以大量的例證為基礎(chǔ),從歌詞特征,旋律特征,節(jié)奏節(jié)拍特征,調(diào)式特征,曲式結(jié)構(gòu)特征,演唱方式六個方面來分別展開研究。第五部分:此章筆者從傳承與發(fā)展的角度來展望新疆昌吉吉木薩爾回族“花兒”的未來,并且從自身的角度向新疆昌吉吉木薩爾回族“花兒”的發(fā)展提出了相關(guān)的建議以做參考。第六部分:該部分為文章的結(jié)論部分,將對全文做以整體的宏觀概述。
[Abstract]:Since the Tang Dynasty, the Hui "Flower" has been gradually introduced into the Northwest region of China by the Islamic countries of Asia, and with the settlement of the foreigners in the Northwest, the "Huar" of the Hui nationality has continued to develop and expand. Gradually becoming one of the most important forms of music expression in Northwest China. Hui "Flower" is a kind of folk song variety, it is the crystallization of the wisdom of the vast numbers of people in Northwest China, which bears the image of the production and life of the people in Northwest China. The rich and colorful content of its expression and the beauty of its intentions show that the broad masses of the people are industrious, plain, plain and beautiful in their daily production and toil. It can be said that the Hui "flowers" are the people of the Northwest region who bring their own national enthusiasm and industriousness. A combination of courage, strength, helpfulness, love of life and worship of one's own national beliefs and cultural awareness, It is the cultural treasure of the whole northwest region and even of China. In the long history and cultural deduction of Xinjiang "Huar", it combines the local cultural characteristics of Xinjiang, whether from style, language or melody, etc. All of them have been branded with a cultural brand with regional characteristics in Xinjiang, with unique artistic characteristics, and gradually developed into a school of "flowers" of the Hui nationality, which not only inherits the original style characteristics of the "flowers" of the Hui nationality, On this basis, special local cultural characteristics have been incorporated, especially in Changji region of Xinjiang. As one of the most important spreading areas of Hui "flowers" in Changji region, Jimusar is one of the most important spreading areas. It is of great significance for the development and deduction of "Huar" of the Hui nationality in Xinjiang. [2] the writing of this paper is mainly based on the regional characteristics of Jimsar region in Changji, Xinjiang. Historical changes and the author's understanding of the development of the Hui "Flower" in Xinjiang as a native of Jimusar, and the combination of relevant music expertise, This paper is divided into six parts. The first part: this part is the introduction part of this paper. The background and significance of the study are explained, and the relevant literature collected in the previous period is summarized as a whole. Part two: this part of the account of the Hui "Flower" originated from the process of its introduction into Xinjiang. This chapter is the basis and premise of the introduction of "Flower" by the author of Jimusar Hui nationality in Xinjiang. The third part: this part of the author through the general situation of Jimousal region, The classification and characteristics of the music types of Hui "Flower" in Jimusar area, Xinjiang, to explain the related general situation of Hui "Flower" in Jimusar region, Xinjiang. Part 4th: this part is an important part of this paper. Based on a large number of examples, this paper analyzes the artistic characteristics of Huahua of Jimusar Hui nationality in Xinjiang, from the characteristics of lyrics, melodies, rhythms, tunes, musical structures, etc. 5th part: from the perspective of inheritance and development, the author looks forward to the future of "Flowers" of the Hui nationality in Changji Jimusar, Xinjiang. And from its own point of view to the Xinjiang Changji Jimusar Hui "Flower" development suggestions for reference. Part 6th: this part is the conclusion of the article, will do a macro overview of the whole text.
【學(xué)位授予單位】：新疆師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2017
【分類號】：J607

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