本文選題：新疆維吾爾族改編民歌 + 音樂特征��； 參考：《寧夏大學(xué)》2017年碩士論文

【摘要】：我國民族音樂歷史悠久,經(jīng)過了一個很漫長的發(fā)展歷程,隨著時代的變更,民族音樂擁有豐富的文化藝術(shù)積淀,在發(fā)展的進(jìn)程中,一些具有豐富內(nèi)涵和特色的音樂逐漸顯現(xiàn)出來,走上了舞臺被世人傳唱。改編民歌是一種聲樂藝術(shù)形式,是具有民族風(fēng)格的創(chuàng)作作品,有其獨(dú)特的內(nèi)涵和精髓。本文將對新疆維吾爾族改編民歌進(jìn)行多角度全方位的分析。論文正文共分為三大部分。第一部分是對維吾爾族以及維吾爾族改編民歌進(jìn)行簡要概述,這部分主要是對傳統(tǒng)民歌在人們的日常生產(chǎn)生活中產(chǎn)生、改編民歌離不開傳統(tǒng)民歌的發(fā)展和由來、二者的關(guān)系非常密切進(jìn)行闡述。文章將改編民歌的定義做一界定,明確研究對象是改編民歌而非傳統(tǒng)民歌,為撰寫后面的文章打下基礎(chǔ)。第二部分是整理新疆維吾爾族改編民歌具有代表性的作品,以《曲蔓地》、《青春舞曲》、《一杯美酒》、《阿拉木汗》、《半個月亮爬上來》、《思戀》等作品為例,通過對這些作品的音樂特征、文學(xué)特征和演唱這三方面,對維吾爾族改編民歌進(jìn)行研究分析。此部分首先從歌曲的音樂本身的特征入手,包括旋律、調(diào)式、曲式結(jié)構(gòu)、節(jié)奏以及節(jié)拍進(jìn)行分析,其次是對維吾爾族改編民歌的文學(xué)特征進(jìn)行分析,包括它的歌詞以及內(nèi)容分類。最后是對演唱技巧、發(fā)聲特點(diǎn)、咬字吐字、節(jié)奏變化、對氣息的處理,對作品旋律線的處理等方面進(jìn)行分析以此讓我們對維吾爾族改變民歌的演唱風(fēng)格進(jìn)行深入的了解。文章的第三部分則是通過我們對維吾爾族改編民歌的系統(tǒng)分析,對它有了一個深入的了解之后,對維吾爾族改編民歌進(jìn)行一下展望,改編民歌由傳統(tǒng)民歌發(fā)展而來,它更適應(yīng)人們的喜好,更為大眾所接受,表現(xiàn)形式和演唱方法和原來的作品相比較都有相對變化,作品風(fēng)格更富有時代氣息,改編后的作品被舞臺藝術(shù)表演和聲樂教學(xué)實(shí)踐采用較多,我們應(yīng)該將維吾爾族改編民歌繼承發(fā)展,保護(hù)和傳承少數(shù)民族音樂作品,針對這個問題文章在第三部分提出了一些相應(yīng)的對策。維吾爾族改編民歌是在原傳統(tǒng)民歌的基礎(chǔ)上為尋找更適應(yīng)人們演唱的方式,將傳統(tǒng)民歌藝術(shù)化,融入鋼琴伴奏,擴(kuò)展了樂曲的內(nèi)容、音樂形式更加豐富,對歌唱者的要求也更加嚴(yán)謹(jǐn)、規(guī)范,演唱難度上有所增加,對聲樂表現(xiàn)力的完整性要求也更完善。文章寫作的最后讓我們深入的了解到了新疆維吾爾族改編民歌,文章主要通過一下具有代表性的作品來分析改編民歌的藝術(shù)特色,為促進(jìn)新疆民族音樂的傳承和發(fā)展進(jìn)行展望,提出一些策略,進(jìn)而希望我國的少數(shù)民族音樂作品可以源遠(yuǎn)流長,被更多的人演唱、欣賞。
[Abstract]:Chinese folk music has a long history and has gone through a long process of development. With the change of the times, folk music has a rich cultural and artistic accumulation, and in the process of development, Some with rich connotations and characteristics of music gradually emerged, on the stage was sung by the world. Adaptation of folk songs is a form of vocal music, is a national style of creative works, has its unique connotation and essence. This paper will analyze Xinjiang Uygur folk songs from various angles. The text of the thesis is divided into three parts. The first part is a brief overview of Uygur and Uygur folk songs, which is mainly about the traditional folk songs in people's daily production and life, the adaptation of folk songs can not be separated from the development and origin of traditional folk songs. The relationship between the two is very close. This paper defines the adaptation of folk songs and makes it clear that the object of study is adaptation of folk songs rather than traditional folk songs, which lays the foundation for writing the following articles. The second part is to sort out the representative works of Xinjiang Uygur folk songs, such as "Quvine Land", "Youth Dance", "A cup of wine", "Aramu Khan", "half moon climbing up", "thinking about love" and other works as examples, through the music characteristics of these works. The literary characteristics and singing of these three aspects, Uygur folk songs adapted to research and analysis. This part begins with the characteristics of the music itself, including melody, mode, musical structure, rhythm and rhythm, and then analyzes the literary characteristics of Uygur folk songs. Including its lyrics and content classification. Finally, the singing skills, vocal characteristics, pronunciation, rhythm changes, the treatment of breath, the processing of the melody line of works are analyzed in order to make us understand the singing style of Uyghur folk songs. The third part of the article is based on our systematic analysis of the Uygur folk songs adaptation, after having a deep understanding of it, the Uygur folk songs are expected to be adapted. The adaptation of folk songs is developed from the traditional folk songs. It is more suited to people's preferences, more acceptable to the public, the form of expression and singing methods are relatively different from the original works, the style of the works is more contemporary. The adapted works have been adopted more frequently by the stage art performance and vocal music teaching practice. We should inherit and develop the Uygur folk songs and protect and inherit the minority music works. In the third part, some corresponding countermeasures are put forward. On the basis of the original traditional folk songs, Uygur folk songs are adapted to people's singing methods, and the traditional folk songs are artistically integrated into the piano accompaniment, and the contents of the music are expanded, and the music forms are more abundant. The demands for singers are more rigorous, standardized, more difficult to sing, and more perfect for the integrity of vocal performance. At the end of the article, we deeply understand the adaptation of Xinjiang Uygur folk songs, the article mainly through the representative works to analyze the artistic characteristics of the adaptation of folk songs, in order to promote the inheritance and development of Xinjiang folk music. Put forward some strategies, and hope that our national minority music works can go back to ancient times and be sung and appreciated by more people.
【學(xué)位授予單位】：寧夏大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2017
【分類號】：J607

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本文編號：2007152