本文關(guān)鍵詞：《99首蒙古民歌精選》研究　出處：《內(nèi)蒙古師范大學(xué)》2008年碩士論文　論文類型：學(xué)位論文

  更多相關(guān)文章： 蒙古族民歌 音樂形態(tài) 調(diào)式 和聲 多聲部織體

【摘要】： 蒙古族是我國(guó)民族大家庭的一員,有著悠久的歷史和燦爛的文化。在蒙古族漫長(zhǎng)的發(fā)展過程中,音樂始終伴隨著他們的歷史,在多種音樂藝術(shù)形式中,民歌堪稱是整個(gè)內(nèi)蒙古草原音樂文化的主流,可以這樣說:蒙古民族是音樂的民族,遼闊的草原就是民歌的海洋。如今,我們?cè)隗@嘆蒙古族人民非凡的藝術(shù)創(chuàng)造力的同時(shí)也深深的感到研究、保存和傳承蒙古族民歌的必要性和重要性。在這方面已經(jīng)有很多專家學(xué)者作了多年和大量的研究工作,也有眾多的學(xué)術(shù)著作問世�！�99首蒙古民歌精選》就是其中之一。作者編著本書的目的就是要推廣蒙古民歌,弘揚(yáng)草原文化,振興民族音樂,它堪稱是一部薈萃著蒙古民歌精華的民歌集,作品中的民歌是由著名音樂理論家烏蘭杰先生,馬玉蕤女士從數(shù)千首各地蒙古族民歌中精選出來加以編排的,具有很高的審美價(jià)值和認(rèn)知價(jià)值。書中的每首歌曲用蒙漢兩種文字配歌,五線譜與簡(jiǎn)譜合璧,由著名音樂學(xué)家趙宋光先生編配了鋼琴伴奏,可以用做聲樂教材,實(shí)為難能可貴。 本文的第一章對(duì)蒙古族民歌進(jìn)行概括敘述,第二章立足作曲理論角度,運(yùn)用文獻(xiàn)分析法,音樂形態(tài)分析,民族音樂學(xué)等方法,將書中所選歌曲進(jìn)行分類,分三節(jié)從民歌的音樂形態(tài)特點(diǎn),地域風(fēng)格色彩,題材內(nèi)容等方面展開分析研究,其中音樂形態(tài)的分析是重點(diǎn)內(nèi)容,包括音階調(diào)式、旋律及結(jié)構(gòu)、節(jié)拍特點(diǎn)三個(gè)小節(jié)。這樣歸納總結(jié)出蒙古族民歌的諸多特點(diǎn),深化對(duì)蒙古族民歌的認(rèn)識(shí)。趙宋光先生為《99首蒙古民歌精選》編配的鋼琴伴奏,充分體現(xiàn)了把民族文化所特有的調(diào)式特點(diǎn)與科學(xué)的調(diào)式功能和聲相結(jié)合的原則,既充滿了功能上的動(dòng)力性,又有著極其豐富的和聲色彩,并準(zhǔn)確的表達(dá)了民歌的意境和音樂審美風(fēng)格,在多聲部織體與蒙古族音樂風(fēng)格相融合方面做了大膽的嘗試和有益的探索。筆者在第三章對(duì)《99首蒙古民歌精選》民歌伴奏的分析主要立足兩個(gè)方面,即:多聲部織體形態(tài)和獨(dú)特的和聲處理。第一節(jié)從和聲性的織體形式,復(fù)調(diào)手法的運(yùn)用,伴奏中與民歌風(fēng)格緊密結(jié)合的節(jié)奏型,長(zhǎng)調(diào)民歌的伴奏寫作四個(gè)方面展開。第二節(jié)解讀了書中運(yùn)用的一些獨(dú)特的和聲及作曲理論,探索如何將民歌與多聲部的伴奏織體形態(tài)相融合。最后一章進(jìn)行了小結(jié),提出了本文的不足之處。總之,本文希望讓更多的人熟悉和應(yīng)用《99首蒙古民歌精選》,也為今后繼續(xù)學(xué)習(xí)研究蒙古族音樂藝術(shù)奠定更多基礎(chǔ),同時(shí)希望筆者的研究能為弘揚(yáng)蒙古族音樂文化做一點(diǎn)貢獻(xiàn)。
[Abstract]:Mongolian is a member of the big family of the Chinese nation, has a long history and splendid culture. In the process of development of Mongolian long, music has always been accompanied by their history, in a variety of musical art form, which is the mainstream of the grasslands of Inner Mongolia folk music culture, it can be said: Mongolia is the national the music of the national, the vast grassland is the sea of folk songs. Today, we marvel at the Mongolian People's extraordinary artistic creativity but also deeply felt on the preservation and transmission of Mongolian folk songs and the importance and necessity of. There have been many experts and scholars for many years and a lot of research work in this area, there are many academic works published.<99 Mongolia folk songs featured "is one of them. The author of this book is to promote the Mongolia folk songs, promoting grassland culture, the revitalization of the national music, it is called a Hui The essence of the folk songs of Mongolia folk songs were set in the works of folk songs by famous music theorist Mr. Orange, Ms. Ma Yurui selected from thousands of local Mongolian folk song arrangement, with aesthetic value and cognitive value is very high. Each song in the book with Mongolian and Chinese two languages with songs and music musical style, by the famous musician Mr. Zhao Songguang gives the piano accompaniment, can be used to do the vocal teaching, is commendable.
The first chapter of this article summarizes the narrative of Mongolian folk songs, the second chapter based on the angle of composing theory, using literature analysis, morphological analysis of music, folk music and other methods, in the book of songs selected for classification, divided into three sections from the musical features of folk songs, regional style color, analyze and research the theme the analysis of music form, is the focus of the content, including scale mode, melody and rhythm structure, characteristics of the three sections. It summarized the features of Mongolian folk songs, to deepen understanding of the Mongolian folk songs. The song is <99 light Mr. Mongolia folk songs featured on piano accompaniment, fully embodies the the unique national culture mode and scientific mode and function of the principle of combining both full of power function, and has extremely rich harmonic color, and accurate expression of the folk songs. The environment and music aesthetic style, texture and Mongolian music style in the fusion of multi part make a bold attempt and useful exploration. In the third chapter the author analysis on <99 of Mongolia folk songs featured folk song accompaniment > mainly based on two aspects, namely: polyphonic texture and unique harmony first. Section from the harmonic texture form, the use of polyphony, rhythm and accompaniment in combination of folk style, long song accompaniment four aspects of writing. Section second explains some of harmony in the use of theory and composition, to explore the folk songs and the accompaniment form the integration. The last chapter gives a summary, put forward the inadequacies of this article. In short, this paper hopes to let more people familiar with <99 and application of Mongolia folk songs featured ", but also for the future to continue to study Mongolian music art for more At the same time, I hope that the author's research can make a little contribution to the development of Mongolian music culture.

【學(xué)位授予單位】：內(nèi)蒙古師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2008
【分類號(hào)】：J607

【同被引文獻(xiàn)】

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5 王紅艷;美聲唱法與蒙古族長(zhǎng)調(diào)歌唱藝術(shù)之比較研究與借鑒[D];首都師范大學(xué);2006年

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本文編號(hào)：1407103