發(fā)布時(shí)間：2018-05-07 23:08

  本文選題：鄂爾多斯蒙古族短調(diào)民歌 + 漫瀚調(diào)�。� 參考：《內(nèi)蒙古師范大學(xué)》2014年碩士論文

【摘要】：在鄂爾多斯這片歷史悠久、文化燦爛的土地上，孕育了鄂爾多斯獨(dú)特的民間音樂文化。鄂爾多斯民歌曲調(diào)豐富，種類多樣，風(fēng)格迥異，它同其他民間藝術(shù)形式一樣，是我國(guó)璀璨的民間藝術(shù)瑰寶中一朵靚麗的奇葩，也是底蘊(yùn)深厚的鄂爾多斯民間文化遺產(chǎn)中不可或缺的重要組成部分。 本文以鄂爾多斯蒙古族短調(diào)民歌和漫瀚調(diào)為對(duì)象進(jìn)行比較研究，其中，鄂爾多斯蒙古族短調(diào)民歌是伴隨著蒙古民族成長(zhǎng)起來的，它是千百年來蒙古族人民勞動(dòng)和智慧的結(jié)晶。從山林狩獵時(shí)期原始古樸的風(fēng)格，到清末蒙漢民族大融合后形成的節(jié)奏歡快、調(diào)性明朗、結(jié)構(gòu)短小、句法整齊、旋律優(yōu)美的風(fēng)格特征，鄂爾多斯蒙古族短調(diào)民歌經(jīng)歷了一代代蒙古族人民的傳承和發(fā)展，形成了獨(dú)特的音樂風(fēng)格和藝術(shù)特征。而漫瀚調(diào)產(chǎn)生于蒙古族和漢族雜居，人口稀少且較為分散的半農(nóng)半牧地區(qū)，發(fā)祥于鄂爾多斯準(zhǔn)格爾旗，從清代后期產(chǎn)生發(fā)展至今，已有150年至200年的歷史。一百多年來，蒙漢人民共同生活發(fā)展、繁衍生息，在相互交流融合的環(huán)境中，鄂爾多斯蒙古族短調(diào)民歌和陜北、晉西北及周邊地區(qū)的“信天游”、“爬山調(diào)”及“二人臺(tái)”這些音樂形式相互交融吸收，形成了曲調(diào)明快，結(jié)構(gòu)整齊，腔調(diào)瀟灑豪放，旋律樸實(shí)優(yōu)美，兼有蒙漢民族特色的漫瀚調(diào)。它可以表達(dá)熱情奔放、激情高昂的熾烈情感，也可以塑造出舒展灑脫和深沉委婉的音樂形象。漫瀚調(diào)是地方性比較強(qiáng)的民歌，這里特殊的丘陵地理環(huán)境和蒙漢民族共同居住的生活環(huán)境，是構(gòu)成漫瀚調(diào)這一地方歌種的地理?xiàng)l件和人文條件。準(zhǔn)格爾旗是“漫瀚調(diào)”的故鄉(xiāng)，“漫瀚調(diào)”是準(zhǔn)格爾旗的特產(chǎn)，由此準(zhǔn)格爾旗被國(guó)家文化部命名為“中國(guó)民間藝術(shù)（漫瀚調(diào)）之鄉(xiāng)”。這一歌種既體現(xiàn)了鄂爾多斯蒙古族傳統(tǒng)短調(diào)民歌的特點(diǎn)，又融合了漢族的音樂藝術(shù)風(fēng)格和準(zhǔn)格爾旗的地方語(yǔ)言，形成了獨(dú)特的音樂風(fēng)格。 文章結(jié)合實(shí)例，，通過對(duì)鄂爾多斯蒙古族短調(diào)民歌和漫瀚調(diào)的音階調(diào)式、節(jié)奏節(jié)拍、曲式結(jié)構(gòu)和旋律發(fā)展分別進(jìn)行重點(diǎn)分析，又從鄂爾多斯蒙古族短調(diào)民歌到漫瀚調(diào)的衍變中分析二者的異同，按照民族五聲調(diào)式歸類，對(duì)二者的音樂形態(tài)進(jìn)行比較研究，找到了鄂爾多斯蒙古族短調(diào)民歌和漫瀚調(diào)之間的淵源關(guān)系。
[Abstract]:Ordos has a long history and splendid culture, giving birth to Ordos unique folk music culture. Ordos folk songs are rich in tunes, diverse in variety, and very different in style. Like other forms of folk art, Ordos is a beautiful flower among the splendid treasures of folk art in our country. It is also an indispensable part of Ordos folk cultural heritage. This paper takes the Mongolian folk songs of Ordos as the objects of comparative study. Among them, the Mongolian folk songs of Ordos are growing up along with the Mongolian nationality, and it is the crystallization of the labor and wisdom of the Mongolian people for thousands of years. From the primitive primitive style of the hunting period of the mountain forest to the style characteristics of the rhythm, the clarity of the tone, the short structure, the neat syntax and the beautiful melody formed after the great fusion of the Han nationality in the late Qing Dynasty, The Mongolian folk songs in Ordos have been inherited and developed from generation to generation, forming unique musical style and artistic characteristics. Manhandiao came into being in the semi-rural and semi-pastoral areas where the Mongolian and Han nationalities live together and the population is sparse and scattered. It has a history of 150 years to 200 years since the late Qing Dynasty when it came into being and developed in the Zhungeer Banner of Ordos. For more than one hundred years, the Mongolian and Han peoples have lived together and thrived. In an environment of mutual exchange and fusion, the Mongolian people of Ordos have made short tunes of folk songs and "Xintian tours" in northern Shaanxi, northwest Shanxi and the surrounding areas. The musical forms of "climbing tune" and "two people's station" blend and absorb each other, forming a melodious tune with bright and neat structure, unrestrained tone, simple and beautiful melody, and the Manghan tune with Mongolian and Chinese national characteristics. It can express passionate, passionate intense emotion, but also can create a relaxed and deep music image. Manhandiao is a relatively strong local folk song. The special hilly geographical environment and the living environment of the Mongolian-Han nationality are the geographical conditions and humanistic conditions of the local songs. Zhungeer Banner is the hometown of Man Hanyao, which is the specialty of Zhungeer Banner. Therefore, Zhungeer Banner is named "the hometown of Chinese Folk Art (Manhanpai)" by the Ministry of Culture. This kind of song not only embodies the characteristics of Ordos Mongolian traditional short tune folk songs, but also combines the music art style of Han nationality and the local language of Zhungeer Banner, and forms a unique musical style. Combined with an example, this paper focuses on the scale, rhythm, structure and melody development of the Mongolian folk songs of Ordos and Manhandi. From the evolution of Mongolian folk songs to Man Han's folk songs, the similarities and differences between them are analyzed, and their musical forms are compared and studied according to the national five tone patterns. Found the origin of Ordos Mongolian folk songs and Man Han tune.
【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】：2014
【分類號(hào)】：J607

【參考文獻(xiàn)】

相關(guān)期刊論文 前1條

1 史維生;;鄂爾多斯蒙古族短調(diào)民歌探微[J];中國(guó)音樂;2007年02期

本文編號(hào)：1858859