【摘要】： 維吾爾族《十二木卡姆》中的部分段落選用了以阿魯孜格律寫(xiě)成的古典詩(shī)歌作為唱詞。產(chǎn)生于阿拉伯文學(xué)的阿魯孜格律體系約從公元十世紀(jì)開(kāi)始,經(jīng)由波斯文學(xué)傳到了新疆,被維吾爾先民所接受。阿魯孜原本是以阿拉伯語(yǔ)長(zhǎng)短音節(jié)的組合與變換為基礎(chǔ)的格律,有八種詩(shī)節(jié)、十九種格式。雖然維吾爾語(yǔ)的元音無(wú)長(zhǎng)短區(qū)別,但經(jīng)過(guò)幾個(gè)世紀(jì)的融合,到了十五世紀(jì),以艾利希爾·納瓦依的作品為代表的維吾爾古典詩(shī)歌中,阿魯孜格律的運(yùn)用已經(jīng)達(dá)到了臻于完美的地步。眾多詩(shī)人的詩(shī)歌作品,被作為《十二木卡姆》部分段落的唱詞在廣大維吾爾人中傳唱。阿魯孜格律長(zhǎng)短音節(jié)的構(gòu)成形式,在兩者的相互融合中,對(duì)《十二木卡姆》音樂(lè)產(chǎn)生了重要的影響。在對(duì)《納瓦木卡姆》唱詞格律與音樂(lè)旋律進(jìn)行對(duì)應(yīng)分析后,我們發(fā)現(xiàn),唱詞中阿魯孜格律長(zhǎng)短音節(jié)在音樂(lè)旋律中對(duì)應(yīng)的音符時(shí)值具有一些相似的特征:短音節(jié)對(duì)應(yīng)時(shí)值相對(duì)短的一個(gè)音符,且只出現(xiàn)在節(jié)奏節(jié)拍的弱位置上,而長(zhǎng)音節(jié)對(duì)應(yīng)音符的時(shí)值、個(gè)數(shù)以及音符所在的位置都比較自由。這就造成了長(zhǎng)短音節(jié)結(jié)合時(shí),旋律節(jié)奏中常常出現(xiàn)附點(diǎn)節(jié)奏和切分節(jié)奏的原因。
[Abstract]:Some paragraphs of the Uygur "Twelve Mukam" choose the classical poetry written in Aruze's law as the lyric. Aruz system, which originated from Arab literature, was introduced to Xinjiang through Persian literature from the tenth century AD, and was accepted by Uighur ancestors. Aruze was originally based on the combination and transformation of short and short syllables in Arabic. Although the vowels of Uygur have no difference in length, after centuries of fusion, by the fifteenth century, Uighur classical poetry, represented by Alicher Navayi's works, The application of the Aruze law has reached the point of perfection. The poems of many poets are sung among the Uyghur people as part of the passage of "Twelve Mukam". The composition of the long and short syllables of Aruz's law, in the fusion of the two, exerts an important influence on the music of Twelve Mukam. On the basis of the corresponding analysis of the rhyme and melody in Navamucam, we find that, Aruz's short and short syllable has some similar characteristics in musical melody: short syllable corresponds to a relatively short note, and only appears in the weak position of rhythm. The long syllable corresponds to the time value, the number and the position of the notes. This result in the combination of short and short syllables, melodic rhythm often appears in the point rhythm and segmentation rhythm.
【學(xué)位授予單位】：新疆師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2008
【分類(lèi)號(hào)】：J607

【引證文獻(xiàn)】

相關(guān)期刊論文 前1條

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相關(guān)碩士學(xué)位論文 前4條

1 梁秋麗;維吾爾《十二木卡姆》“達(dá)斯坦”與歌劇《艾里甫與賽乃姆》唱段與之對(duì)比研究[D];新疆師范大學(xué);2010年

2 阿曼古麗·牙生;“賽里木賽乃姆”調(diào)查與研究[D];新疆師范大學(xué);2011年

3 王海霞;十二木卡姆在喀什地區(qū)的民間傳承研究[D];新疆師范大學(xué);2012年

4 陳婷婷;吐魯番木卡姆“托克遜版”音樂(lè)文化調(diào)查研究[D];中央音樂(lè)學(xué)院;2012年

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本文編號(hào)：2319280