本文選題：安多“勒” + 特點　； 參考：《青海師范大學》2017年碩士論文

【摘要】：勤勞勇敢的藏族人民在高海拔的自然條件與嚴寒的氣候環(huán)境中用自己的智慧積累了無數(shù)可貴的適應于這種特有的自然環(huán)境的生產(chǎn)和生活經(jīng)驗,創(chuàng)造并發(fā)展了本民族豐富的物質文化和多彩的精神文化,其中的“勒”是人們彼此交流情感和信息的重要方式,具有鮮明的歷史性、傳統(tǒng)性、民族性、地域性等社會特性和特定的民族凝聚、弘揚藏族文化、創(chuàng)建和諧社會的功能。由于獨特的地理、政治、宗教、文化背景,不但形成了相對獨立的民族民間藝術,而且形成了民間的一種表現(xiàn)藏族人民生活歷史、生活環(huán)境、信仰體系、性格特征、審美情感等生產(chǎn)實踐活動的藝術形式,具有深刻的思想性和較高的藝術性。本文以廣泛流傳于安多藏族民間的原生態(tài)表現(xiàn)形式“勒”為研究對象,探究這種藝術形式的發(fā)展脈絡,關注“勒”在現(xiàn)代社會融入多元文化的傳承和發(fā)展狀況,從而使我們了解到“勒”不但是群眾喜聞樂見、男女老少皆宜的一種歌唱形式,而且又是更多學者研究藏民族社會歷史、時代生活、風土人情以及文化藝術演變等基本概況的一種途徑。本文由三個章節(jié)及結語構成。第一章,闡述“勒”的歷史淵源與發(fā)展軌跡以及在不同文化語境中的傳播及其形態(tài)所展現(xiàn)的豐富文化內涵;探討形成“勒”內容豐富、形式多樣、風格獨特的各種因素,以原生態(tài)民歌為參照對象,借助當代審美文化和音樂美學的理論,分析歸納其審美特征,試圖為“勒”在今后的創(chuàng)作和發(fā)展提供理論幫助;第二章,藏族原生態(tài)“勒”的表現(xiàn)形式由簡約至繁復,從單一至多元,深刻影響著人類藝術發(fā)展歷程;通過對“勒”在音階與調式、核心音列、旋法特征、唱腔與襯詞、節(jié)拍節(jié)奏與曲式等方面深入系統(tǒng)的研究比較,總結出具有區(qū)域特點的“勒”在音樂上的一些獨特的藝術特色和魅力,從而展現(xiàn)安多藏族“勒”珍貴的藝術價值;作為藏民族尋求精神滿足的智慧結晶的口頭傳承形式之一,其表現(xiàn)形式除了具有旋律抑揚頓挫、合轍貼韻、音調悠長、音域寬廣、節(jié)奏自由等獨有的特色外,歌詞和樂曲均系民間藝人們心記、口傳,并通過歌唱而傳給后輩,曲調一般無變化,無音樂伴奏,歌詞既有舊傳又有新編,或者由歌者即興發(fā)揮,常常以舊調填新詞來演唱,主要包括牧歌、酒歌等,表現(xiàn)以贊美山川、河流和歌頌生產(chǎn)勞動以及對人、對事、對生活的愛憎之感和人們細膩的情感、鮮明的性格、深刻的思想;同時簡要梳理了安多區(qū)域“勒”的種類和藝術表現(xiàn)形式;第三章,也是本文最重要的部分,主要采用分析、訪談、調研為主的研究方法,結合歷史學、民俗學等學科理論,進行了客觀、合理的嘗試性分析。正如匈牙利音樂家柯達伊認為:“民族傳統(tǒng)有機的繼承,唯有從我們的民間音樂中才能找到�！弊鳛槲幕拿褡迕耖g音樂,不但具有繼承和發(fā)展的價值,它的學科性質決定了它不僅是一種音樂現(xiàn)象,而且具有強大的生命力和廣泛的傳播價值,是民族傳統(tǒng)文化藝術形式中頗具代表性的元素之一,始終與時代前進的方向保持一致,呈現(xiàn)出具有地域特色的鮮活感;隨著時代的變遷以及社會的轉型,物質豐富到精神文化的多樣,使人們的生活和思想觀念發(fā)生了巨大的變化,總結討論“勒”的傳承與發(fā)展前景,呼吁全社會從“勒”的口傳心授的傳承方式、應用價值、普及化等方面入手,分析其現(xiàn)實處境及如何保護和傳承等問題,并由此引申到對少數(shù)民族傳統(tǒng)文化的保護、發(fā)展和傳承。“民族的就是世界的”在村落發(fā)生變遷和媒介不斷變革的現(xiàn)實情境中,音樂本身也在發(fā)生著不同程度的改變。在以廣播、電視和手機等現(xiàn)代媒介作用下的音樂傳播活動因為擺脫了時空的限制而得以在較大范圍內進行,音樂本身也因傳播情境的開放性、豐富性而變得不穩(wěn)定,這種改變形成新的文化要素,并不斷加入到原有的音樂文化中,從而引起新文化的增長和舊文化的改變,最終實現(xiàn)本土傳統(tǒng)音樂文化的創(chuàng)新性發(fā)展。筆者認為,要以藏民族的現(xiàn)實生活為基點,把中華民族文化作為大的背景,運用現(xiàn)代科學的研究方法,深入了解藏民族獨特而源遠流長的傳統(tǒng)藝術文化內涵,對其進行系統(tǒng)的研究、分析,歸納出其起源、形成、發(fā)展、傳承、表現(xiàn)、內涵和價值功能,在傳統(tǒng)傳承與現(xiàn)代創(chuàng)新間進行互動、磨合,不斷調適和發(fā)展,使之歷久彌新,再生新蘊。更值得一提的是,當今發(fā)展迅猛的民族生態(tài)旅游行業(yè)對傳統(tǒng)文化藝術的保護傳承的影響以及所面臨的時代大變遷下,少數(shù)民族音樂藝術該怎樣適應飛速發(fā)展的學術課題研究,在諸如此類文化的傳承取舍方面提供了更深刻的反思和新的展望,因而本文的研究不但具有一定的學術價值,而且還有較強的現(xiàn)實意義。
[Abstract]:The hardworking and brave Tibetan people have accumulated numerous valuable experiences of production and life in this unique natural environment with their own wisdom in the high altitude natural conditions and the cold climate environment, and created and developed the rich material culture and colorful spiritual culture of the nation, among which the "Le" is the people's exchange of feelings to each other. The important way of feeling and information has a distinctive historical, traditional, national, regional and other social characteristics and specific national cohesion, carrying forward the Tibetan culture and creating a harmonious society. Because of its unique geographical, political, religious and cultural background, it not only forms a relatively independent national folk art, but also forms a folk kind of folk art. The artistic form of the production practice of the Tibetan people's life history, living environment, belief system, character characteristics and aesthetic emotion, has profound ideological and artistic character. This article is widely spread on the original ecological manifestation of the Tibetan folk and explores the development of this form of art. Note that "Le" in modern society is integrated into the inheritance and development of multiculturalism, which makes us understand that "Le" is not only a form of singing that the masses are pleased to see, men, women, old and young, but also a way of studying the basic profiles of the social history of the Tibetan nationality, the life of the times, the situation of the people and the evolution of the culture and art. This article is composed of three chapters and concluding remarks. The first chapter expounds the historical origin and development track of "Le", as well as the rich cultural connotations displayed in different cultural contexts and its form, and probes into the various factors that form a rich, diverse and unique style of "Le", with the reference of the original ecological folk songs, with the help of the contemporary era. The theory of aesthetic culture and music aesthetics, analysis and induction of its aesthetic characteristics, try to provide theoretical help for the creation and development of "Le" in the future; the second chapter, the Tibetan original ecological "Le" form from simple to complex, from a single to multiple, profound influence on the development of human art; through the "Le" in the tone and the core of the key, the core The characteristics of the tone, the rotation, the singing and the lining, the rhythm of the rhythm and the style of the music are systematically studied and compared, and some unique artistic features and charms of "Le" with regional characteristics are summed up to show the precious artistic value of the "Le" in Ando Tibetan, and the oral wisdom of the Tibetan people to seek spiritual satisfaction. One of the forms of inheritance, in addition to the unique features of the melody, the rhyme, the rhyme, the long tone, the wide range and the freedom of rhythm, the lyrics and music are all the folk artists' hearts, words and words, and are passed to the generations by singing, and the melody is generally not changed, without music accompaniment, the lyrics have both old and new, or by the words. Singers improvise, often sing the new words with old tones, mainly including pastoral songs, wine songs, etc., to praise mountains and rivers, rivers and praise of productive labor, to people, to things, to life and to people's love and hatred, to people's delicate feelings, distinct character, and profound thoughts; and briefly combed the kind and artistic expression of the "Le" in the Ando area. Form; the third chapter is the most important part of this article. It mainly adopts the method of analysis, interview and research, which combines the theory of history and folklore, and carries out an objective and reasonable attempt analysis. As Kodaly, the Hungarian musician, thinks, "the inheritance of the national tradition is only from our folk music." The national folk music, as a culture, not only has the value of inheritance and development. Its nature of discipline determines that it is not only a musical phenomenon, but also has strong vitality and wide spread value. It is one of the representative elements in the traditional cultural and artistic form of the nation and always keeps the direction of the progress of the times. With the change of the times and the transformation of the society, the material rich to the diversity of the spirit and culture, the great changes in the people's life and ideas, the prospect of the inheritance and development of "Le", and the appeal to the whole society from the way of inheritance and application of the "Le". In the aspects of popularization and so on, this paper analyzes the realistic situation and how to protect and inherit the problems, and extends it to the protection, development and inheritance of the traditional culture of ethnic minorities. "The national is the world" in the reality of the change of villages and the continuous change of the media, the music itself is also changing to different degrees. The music dissemination activities under the action of modern media such as radio, television and mobile phones have been carried out in a large range because of free time and space. Music itself is also unstable because of the openness and richness of the spread situation. This change forms a new cultural element and does not break into the original music culture, thus causing the new culture. The growth of culture and the change of the old culture eventually realize the innovative development of the local traditional music culture. The author believes that the Chinese national culture should be taken as the base point, the Chinese culture is taken as the big background, and the modern scientific research method is used to understand the traditional cultural connotation of the Tibetan people's unique and long history. The research and analysis of the line system concludes its origin, formation, development, inheritance, expression, connotation and value function, and interacts with the traditional inheritance and modern innovation, in the process of continuous adaptation and development, making it lasting and regenerating the new connotation. It is worth mentioning that the protection of traditional culture and art in the present rapid development of the national ecological tourism industry is to protect the traditional culture and art. Under the influence of the inheritance and the great changes of the times, how should the minority music art adapt to the study of the rapid development of the academic subject, and provide a more profound reflection and a new prospect in the inheritance and choice of such culture. Therefore, this study not only has a certain academic value, but also has a strong practical significance.
【學位授予單位】：青海師范大學
【學位級別】：碩士
【學位授予年份】：2017
【分類號】：J607

【參考文獻】

相關期刊論文 前2條

1 陳建憲;略論民間文學研究中的幾個關系——"走向田野,回歸文本"再思考[J];民族文學研究;2004年03期

2 鐘敬文;民俗學對文藝學發(fā)展的作用[J];文藝研究;2001年01期

，

本文編號：1983028