本文選題：中國古代音樂美學(xué)史 + 唱論　； 參考：《江西師范大學(xué)》2008年碩士論文

【摘要】： 在漫長的歷史長河中,儒道音樂美學(xué)思想的發(fā)展與演變,成就了一部中國音樂美學(xué)的發(fā)展歷史,而聲樂作為一門藝術(shù)也是在這兩種主要的美學(xué)思想的影響和引導(dǎo)下生根發(fā)芽的。對(duì)中國古代音樂美學(xué)思想視野下的聲樂文獻(xiàn)作一個(gè)比較研究,有利于我們?nèi)媸崂碇袊糯魳访缹W(xué)視野下的聲樂理論的發(fā)展歷史以及更清楚地把握古人在聲樂上地審美要求和趣旨。同時(shí)還有利于今人對(duì)中國古代聲樂理論指導(dǎo)下的音樂行為、音樂成果進(jìn)行更深入的美學(xué)審視。長期以來,有不少人曾對(duì)古代單個(gè)的聲樂論著或文獻(xiàn)做過細(xì)致的研究,但對(duì)古代聲樂文獻(xiàn)作比較系統(tǒng)、整體研究的還不多不深,特別是結(jié)合中國古代的音樂美學(xué)思想來談的更少,因此筆者想在這篇文章中通過對(duì)古代的聲樂文獻(xiàn)作一個(gè)綜合性的美學(xué)上的比較研究,以此幫助我們更好更深地理解吸收古人對(duì)于聲樂的觀點(diǎn),對(duì)我們以后的聲樂教學(xué)和表演上起到更多的指導(dǎo)作用。 本文共分五章: 第一章主要論述中國古代音樂美學(xué)史的歷史進(jìn)程和基本特征。這部分論述主要從三個(gè)方面來論述:中國古代傳統(tǒng)文化的歷史進(jìn)程、中國古代儒道美學(xué)思想發(fā)展的歷史進(jìn)程、中國古代音樂美學(xué)史的基本特征。 第二章主要從聲樂發(fā)展史的角度介紹了古代聲樂發(fā)展的特征及有關(guān)人物。由于中國古代社會(huì)歷史的變遷發(fā)展,各個(gè)時(shí)期的聲樂風(fēng)格也各有不同,出現(xiàn)了一些著名的聲樂演唱家。這部分論述了在不同時(shí)期古代聲樂發(fā)展過程中的三種主要特征。 第三章主要對(duì)中國古代傳統(tǒng)唱論做歷史文化剖析。這部分分別從中國古代傳統(tǒng)唱論的社會(huì)背景和中國古代傳統(tǒng)唱論的文化背景來進(jìn)行論述。 第四章主要對(duì)中國古代音樂美學(xué)史的大背景下的有關(guān)文獻(xiàn)本體做比較研究。這部分主要論述了四種關(guān)系:情與聲的關(guān)系、聲與字的關(guān)系、情與氣的關(guān)系、氣與聲的關(guān)系,最后再對(duì)這四個(gè)概念之間的關(guān)系做了辯證的分析。 第五章主要對(duì)中國傳統(tǒng)唱論與現(xiàn)代民族聲樂理論的有關(guān)聲樂基礎(chǔ)概念與文化背景作比較分析。中國古代社會(huì)長期處于封建社會(huì)狀態(tài),以農(nóng)業(yè)文化為基本特征,因此當(dāng)時(shí)對(duì)于傳統(tǒng)唱論的一些觀點(diǎn)稍顯保守、狹隘。隨著時(shí)代的進(jìn)步,社會(huì)形態(tài)發(fā)生了改變,中國現(xiàn)代社會(huì)文化呈現(xiàn)出多元發(fā)展的特征,而現(xiàn)代民族聲樂理論也更科學(xué)、更開放。 最后為結(jié)語部分,這部分號(hào)召聲樂工作者對(duì)我國古代傳統(tǒng)唱論做更全面細(xì)致的研究,以便于更好地發(fā)掘利用我國寶貴的文化財(cái)產(chǎn),為今后的教學(xué)及表演提供更豐富的經(jīng)驗(yàn)指導(dǎo)。
[Abstract]:In the long history, the development and evolution of music aesthetics of Confucianism and Taoism has made a history of Chinese music aesthetics, and vocal music, as an art, has taken root under the influence and guidance of these two main aesthetic thoughts. A comparative study of vocal music literature from the perspective of ancient Chinese musical aesthetics, It is helpful for us to comb the development history of vocal music theory from the perspective of ancient Chinese music aesthetics and to grasp more clearly the aesthetic requirements and interesting tenets of the ancients on vocal music. At the same time, it is helpful for people to conduct a deeper aesthetic survey on the musical behavior and musical achievements under the guidance of the ancient Chinese vocal music theory. For a long time, many people have done meticulous research on individual vocal music works or documents in ancient times. Especially in combination with the ancient Chinese musical aesthetics, the author wants to make a comprehensive aesthetic comparative study of the ancient vocal music literature in this article. It helps us to better understand and absorb the ancients' views on vocal music and play a more guiding role in the teaching and performance of vocal music in the future. This paper is divided into five chapters: The first chapter mainly discusses the historical process and basic characteristics of the history of Chinese ancient music aesthetics. This part mainly discusses from three aspects: the historical process of Chinese ancient traditional culture, the historical process of the development of Chinese ancient Confucianism and Taoism aesthetics, and the basic characteristics of the history of ancient Chinese music aesthetics. The second chapter introduces the characteristics and characters of the development of ancient vocal music from the perspective of the development of vocal music. Due to the change and development of ancient Chinese society and history, the vocal music styles of each period are different, and some famous vocal singers appear. This part discusses three main characteristics of the development of ancient vocal music in different periods. The third chapter mainly analyzes the history and culture of ancient Chinese traditional singing theory. This part discusses the social background of Chinese traditional singing theory and the cultural background of ancient Chinese traditional singing theory. The fourth chapter makes a comparative study on the Noumenon of the literature under the background of the history of ancient Chinese music aesthetics. This part mainly discusses four kinds of relations: the relationship between emotion and sound, the relationship between sound and words, the relationship between emotion and qi, and the relationship between qi and sound. Finally, the relationship between these four concepts is analyzed dialectically. The fifth chapter makes a comparative analysis on the basic concepts and cultural background of Chinese traditional singing theory and modern national vocal music theory. The ancient Chinese society was in the state of feudal society for a long time, with agricultural culture as the basic characteristic, so some views about the traditional singing theory were somewhat conservative and narrow at that time. With the progress of the times, the social formation has changed, the modern Chinese social culture has the characteristics of pluralistic development, and the modern national vocal music theory is more scientific and open. Finally, the conclusion part, this part calls on vocal music workers to do more comprehensive and meticulous research on the ancient Chinese traditional singing theory, in order to better explore and utilize the valuable cultural property of our country, and to provide richer experience guidance for the teaching and performance in the future.
【學(xué)位授予單位】：江西師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2008
【分類號(hào)】：J616

【引證文獻(xiàn)】

相關(guān)碩士學(xué)位論文 前1條

1 高琦;《唱論》與金鐵霖民族聲樂理論之比較研究[D];武漢音樂學(xué)院;2012年

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本文編號(hào)：1808770