河北平山民间歌手阎三妮演唱艺术探究

发布时间：2018-07-17 20:33

【摘要】：“一方水土，养育一方人”，平山特殊的自然地理环境，以及生活点滴中艺术熏陶造就了阎三妮民歌演唱的艺术成就。阎三妮作为平山民歌和河北山歌“信天游”的主要代表人物之一，她即兴演唱的民歌题材丰富、形式多样、风格迥异，具有浓郁的平山地方特色。她的演唱具有时代的记忆，民歌中一些富含生活气息的词句记录着平山劳动人民千丝万缕的情感，浸透着平山人民的理想、憧憬和对未来美好生活的祈盼。本文只要对阎三妮民歌的演唱风格及地方特色的演唱方法进行分析，将其民间艺术之精华借鉴到现代民族声乐演唱中，同时也让更多的人能够更加深刻的了解民间老艺人艺术价值。全文大致分为三大章节：第一部分：阎三妮的生存环境及概况。阎三妮演即兴演唱的民歌和特色演技法的形成是受多方面的因素影响的，是经过长期发展演变而来的。本章首先通过对阎三妮艺术生涯的简单介绍，对她有一个初步认识，继而从生存环境入手，即：历史因素、地理因素、人文因素等方面进行论述，从而，进一步阐释阎三妮演唱艺术风格形成的背景。第二部分：阎三妮民歌作品的艺术特色。她的民歌体裁大都是山歌，小调，由于平山特殊的地理位置，民歌有山歌和小调相融合之特点。民歌题材涉及生活的不同层面，内容丰富且多样。通过对民歌旋律中音阶调式、节奏节拍、音程、句式结构等音乐要素以及歌词中极具地方色彩的语言特色分析来探讨阎三妮作品的艺术特色和风格特征。第三部分：阎三妮的演唱特征探析。本章着重从阎三妮民歌演唱的浓厚地方色彩切入，对其演唱特征进行探析，从歌唱中的呼吸、共鸣、咬字吐字等方法进一步阐释阎三妮的传统演唱方法。由于阎三妮民歌的演唱受到了山西晋剧与河北梆子的影响，所以演唱风格、演唱方法吸收了地方戏曲的精华之处，运用到实际演唱中，，并在长期的艺术实践中形成了自己特色的演唱技法，大致总结为五种：平腔唱法、矮腔唱法、滑音唱法、倚音唱法、直声唱法。老艺人自然的演唱方法和丰富的演唱技法，留给我们宝贵的文化遗产。只有切身地深入到民间中去，才能真正体现我们博大精深的民族文化。将阎三妮演唱的平山民歌与当代民族声乐相融合，通过对阎三妮演唱平山民歌的继承和发扬，来促进民族声乐事业的发展，并汲取其精华发扬光大我们民族民间音乐文化。本论文通过首先收集阎三妮的相关资料（文献资料、影像资料、曲谱等），然后对手头现有的资料进行整合、归纳，并结合相关书籍、论文资料进而分析，对阎三妮艺术风格有了一定深入了解后，再进行采风、访谈结合实际，以获得理论层次的提高，形成论文的基本思路，从而总结提炼出本文所要探究的阎三妮演唱艺术的理论高度。
[Abstract]:"one side soil and water, raise one side person", Pingshan's special natural geographical environment, as well as the artistic edification in the life bit by bit has created Yan Sanni's folk song singing artistic achievement. Yan San Ni is one of the main representatives of Pingshan folk song and Hebei folk song Xintian Tour. The folk songs she improvises sing are rich in subject matter, diverse in form and different in style, and have rich local characteristics of Pingshan. Her singing has the memory of the times. Some words and phrases rich in the breath of life in folk songs record the inextricable feelings of the working people in Pingshan Mountain, and permeate the ideal, vision and longing for a better life in the future of the people of Pingshan Mountain. In this paper, we only need to analyze the singing style of Yan Sanni's folk songs and the singing methods with local characteristics, and use the essence of folk art for reference in the singing of modern national vocal music. At the same time, it also enables more people to understand the art value of old folk artists. The full text is divided into three chapters: the first part: Yan Sanni's living environment and general situation. The formation of Yan San-ni's impromptu folk songs and characteristic acting techniques was influenced by many factors and evolved through long-term development. This chapter begins with a brief introduction to Yan Sanni's artistic career and a preliminary understanding of her, and then begins with the living environment, that is, historical factors, geographical factors, humanistic factors, and so on. Further explain Yan San Ni singing art style formation background. The second part: the artistic characteristics of Yan San Ni's folk songs. Her folk songs are mostly folk songs, minor, due to the special geographical location of Pingshan, folk songs have the characteristics of the combination of folk songs and minor. Folk songs involve different aspects of life, rich and diverse content. This paper discusses the artistic and stylistic features of Yan Sanni's works through the analysis of the musical elements such as scale, rhythm, interval, sentence structure, and the language features of local color in the lyrics of folk songs. The third part: Yan San Ni's singing characteristics. This chapter focuses on Yan Sanni folk songs from the strong local color cut into its singing characteristics, from the singing breath, resonance, pronunciation and other methods to further explain Yan Sanni's traditional singing methods. Because Yan San Ni's folk songs were influenced by Shanxi Jin Opera and Hebei Bangzi, the singing style and singing method absorbed the essence of local opera and were applied to actual singing. In the long-term art practice, it has formed its own characteristic singing techniques, which can be summed up into five kinds: flat singing, short singing, sliding singing, leaning singing and straight singing. Old artists natural singing methods and rich singing techniques, leaving us valuable cultural heritage. Only by penetrating into the folk can we truly embody our broad and profound national culture. The pingshan folk song sung by Yan Sanni is combined with contemporary national vocal music. By inheriting and developing Yan Sanni's singing Pingshan folk song, it can promote the development of national vocal music cause, and draw on its essence to carry forward our national folk music culture. This paper first collects Yan Sanni's related data (literature, image, music, etc.), and then integrates and induces the existing data, and then combines the relevant books, and then analyzes the data of the paper. After having a deep understanding of Yan Sanni's artistic style, he then carried out a collection of wind, interviews and practice in order to improve the theoretical level and form the basic thinking of the thesis. In order to sum up and refine the theoretical height of Yan San-ni's singing art to be explored in this paper.
【学位授予单位】：河北师范大学
【学位级别】：硕士
【学位授予年份】：2012
【分类号】：J616

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