本文選題：河州花兒 + 花兒歌手��； 參考：《西北民族大學(xué)》2017年碩士論文

【摘要】：河州花兒廣泛流行于我國甘肅、青海、新疆、寧夏等西北部省區(qū),是由回族等九個民族共同創(chuàng)造的民歌。河州花兒是寶貴的非物質(zhì)文化遺產(chǎn),被西北人民稱之為"生命之歌"�；▋焊枋质呛又莼▋旱膭�(chuàng)造者,也是傳唱者,可以說是河州花兒的靈魂。他們用真情實感來創(chuàng)作河州花兒,演唱河州花兒,抒發(fā)自己對美好生活與愛情的感嘆。每一首傳唱至今的河州花兒,都是一個又一個花兒歌手日夜嘔心吟唱之作。本文分為四個章節(jié),先為緒論,后從花兒的歷史、分類、演唱場合及河州花兒的特點幾個方面概述花兒,將花兒置入民族音樂學(xué)歷時和共時的空間來全面解讀花兒。第三章通過馬爾灑為代表的三位花兒歌手在唱詞、曲令、唱法上的原生態(tài)呈現(xiàn),將其置于文化生態(tài)整體內(nèi),體現(xiàn)出花兒群體音樂意識中花兒歌手在曲令、唱詞、唱法上的花兒審美意境。綜合加以觀察、描述、分析,花兒歌手最大限度的保留了花兒的神韻。當河州花兒在語言、唱詞、唱法、曲令上哺育了花兒歌手后,優(yōu)秀花兒歌手從中成長起來。當花兒的某些技術(shù)手段不能滿足花兒歌手的表現(xiàn)欲望時,優(yōu)秀花兒歌手開始豐富、打扮花兒。第四章就以何清祥、馬紅蓮、馬忠偉等花兒歌手對花兒曲令的改編創(chuàng)作、演唱方式及表演形式的改良,映射出河州花兒當下的存活現(xiàn)狀,獲得對研究對象的主觀反思。通過調(diào)查花兒傳承人,記錄花兒歌手演唱。將花兒的傳承、發(fā)展呈現(xiàn)出來。透過花兒演唱,映射出花兒傳承人、公認的優(yōu)秀花兒歌手所做的努力與貢獻,是民族音樂學(xué)者的歷史責(zé)任。
[Abstract]:Hezhou flowers are widely popular in Gansu, Qinghai, Xinjiang, Ningxia and other northwestern provinces and regions, is a folk song co-created by the Hui nationality and other nine ethnic groups.Hezhou Flower is a precious intangible cultural heritage, which is called "Song of Life" by people in Northwest China.The flower singer is the creator and singer of Hezhou flower, and it is the soul of Hezhou flower.They use true feelings to create Hezhou flowers, sing Hezhou flowers, express their feelings for the beautiful life and love.Every Hexian flower that has been sung so far is a song by a flower singer day and night.This article is divided into four chapters, first for the introduction, then from the flower history, classification, singing occasions and the characteristics of flowers in Hezhou to outline the flowers, put flowers into the national music education and synchronic space to comprehensively interpret flowers.In the third chapter, the original ecology of the three flower singers represented by Marsler is presented, which is put into the whole of culture and ecology, which reflects the music consciousness of the flower group in the singing order, singing words.The aesthetic conception of flowers in singing.Comprehensive observation, description, analysis, flower singer to the maximum extent to retain the charm of flowers.When Hezhou flowers in language, singing words, singing style, song order nurtured the flower singer, the excellent flower singer grew up.When some technical means of flower can not satisfy the performance desire of flower singer, the excellent flower singer begins to enrich and dress up flowers.The fourth chapter is based on he Qingxiang, Ma Honglian, Ma Zhongwei and other flower singers' adaptation and creation of Huayuan qu, singing style and improvement of performance form, which reflects the present living situation of Hezhou Flower, and obtains subjective reflection on the object of study.Through the investigation of the flower inheritor, record the singing of the flower singer.The inheritance and development of flowers are presented.Through the singing of flowers, it is the historical responsibility of folk music scholars to reflect the efforts and contributions made by outstanding singers of flowers.
【學(xué)位授予單位】：西北民族大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2017
【分類號】：J607

【參考文獻】

中國期刊全文數(shù)據(jù)庫 前1條

1 曹章瓊;;試論“花兒”的演唱方法[J];中國音樂;2006年02期

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本文編號：1761368