试论陕北民歌及其演唱风格
发布时间：2018-08-13 12:05
【摘要】： 陕北民歌是黄土文化中最具代表性的艺术形式。它主要有号子、山歌、小调和儿歌四大 类。其总体曲调框架结构，是在五声调式的基础上，由调式主音及上、下方五度音作为骨干， 构成曲调的框架。其典型的旋律进行是围绕主音作四度距离的上行或下行。即2-5-1，5- 1-2-5等。这一框架，是形成陕北民歌风格特色的重要因素之一。也正是这一具有特征的 框架构成的民歌，贴切地描绘了陕北黄土高原那无际、空旷的自然地理环境和生存在这环境 中的人民群众的感情世界。陕北民歌旋律简洁明快，有鲜明的空间感，粗犷、高亢、洒脱自如、 极富歌唱性。陕北民歌风格形成的原因是多方面的，本文第一部分主要从历史方面、地理方 面还有其它一些风土人情、语言特点等方面分析了陕北民歌风格形成的原因。 文章第二大部分论述了陕北民歌中号子、信天游和小调的分类及风格特点。陕北的号子 有黄河船工号子、打夯号子、打硪号子、绞煤号子等多种号子。陕北号子的风格特点是速度稍 慢，力度变化不大，唱起来上口、好听。陕北山歌主要是信天游和山曲。信天游是陕北民歌中 最具代表性的歌种，它的基本曲调有一百多种，结构方整、旋律多大跳，节奏型以切分节奏为 典型，歌词一般为七言上下句结构的两句体，以多用重词叠句见长。陕北的小调有一般小调、 丝弦小调、社火小调和风俗小调四种。陕北小调的风格多样，有陕北风格的、有江南风格的、 也有两种风格融为一体的。总之，陕北小调普遍旋律较流畅，或优美抒情、纤巧细腻，或节奏 鲜明、通达流畅。 本文的第三部分论述了陕北民歌演唱中主要的一些演唱技巧。陕北民歌主要用平腔演 唱，另外演唱中还运用直音唱法、滑音唱法、颤音唱法、断腔唱法，~↓7~↑4唱法等等技巧。陕北 民歌的风格特点和演唱技巧是根植于陕北悠久而光荣的历史，特殊的地理条件及陕北人民 剽悍、诚挚、豪爽的性格和乐于助人，不畏艰苦，拼搏向上，敢恨敢爱的秉性。正所谓：“信天 游，不断头，断了头，穷人就无法解忧愁”。 从土地革命到抗日战争，，是革命为陕北民歌注入了新的生命力。陕北民歌以及根据陕北 民歌音调创作的各种音乐作品，充分的体现了中华民族的精神面貌。所以无论过去，还是现 在乃至将来，陕北民歌及其音调都是体现时代精神面貌的重要艺术形式。
[Abstract]:Northern Shaanxi folk song is the most representative art form in loess culture. It mainly has the horn, the folk song, the minor tune and the children's song four big categories. On the basis of the pentatonic structure, the overall structure of the tunes is composed of the principal tone and the upper and lower five tones as the backbone of the tunes. Its typical melodic progression is a four-degree distance around the main voice up or down. That is, 2-5-1, 5- 1-2-5, et al. This frame is one of the important factors forming the style and characteristics of the folk songs in Northern Shaanxi. It is this characteristic frame composed of folk songs that aptly depicts the boundless Loess Plateau in northern Shaanxi. The open natural geographical environment and the emotional world of the people living in this environment. The folk songs in Northern Shaanxi have a clear sense of space, rugged, high-pitched, free and free, and full of singing. There are many reasons for the formation of folk song style in Northern Shaanxi. The first part of this paper is mainly about history, geography and other local customs. Language characteristics and other aspects of the analysis of Northern Shaanxi folk song style formation reasons. The second part discusses the classification and style characteristics of folk songs in Northern Shaanxi. Northern Shaanxi has the Yellow River boatman, tamping, playing me, coal, and so on. Northern Shaanxi is characterized by the style of slightly slower speed, little change in strength, singing on the mouth, easy to listen to. Northern Shaanxi folk songs are mainly Xin Tian you and Shan qu. Xintian Tour is the most representative of the folk songs in Northern Shaanxi. It has more than 100 basic tunes, a square structure and a big melody. Rhythm type is characterized by split rhythm. The lyrics are usually two sentences with the structure of seven words and two sentences, and they are good at repeating sentences with heavy words. North Shaanxi minor has general minor, silk string minor, social fire minor and custom minor four. There are various styles in North Shaanxi minor, there are North Shaanxi style, there are Jiangnan style, there are two styles into one. In a word, the general melody of Northern Shaanxi minor is more smooth, or beautiful lyric, delicate, or sharp rhythm, smooth understanding. The third part of this paper discusses the main singing techniques in Northern Shaanxi folk songs. The folk songs in Northern Shaanxi are mainly performed with flat singing, and in addition, the techniques of straight, slippery, tremolo, broken singing and so on are also used. The style and singing skills of folk songs in Northern Shaanxi are rooted in the long and glorious history of Northern Shaanxi. Special geographical conditions and the north Shaanxi people tough, sincere, bold personality and helpful, not afraid of hardship, fighting upward, dare to hate the nature of love. As the saying goes: "believe in the sky, continue to head, broken head, the poor can not solve sorrow." From the agrarian revolution to the War of Resistance against Japan, it was the revolution that injected new vitality into the folk songs of Northern Shaanxi. The folk songs of northern Shaanxi and various musical works created according to the tones of the folk songs of northern Shaanxi fully reflect the spiritual outlook of the Chinese nation. Therefore, both in the past, in the present and in the future, the folk songs and their tones in Northern Shaanxi are important artistic forms reflecting the spirit of the times.
【学位授予单位】：西南师范大学
【学位级别】：硕士
【学位授予年份】：2001
【分类号】：J642.2;J616.2
本文编号：2180936
[Abstract]:Northern Shaanxi folk song is the most representative art form in loess culture. It mainly has the horn, the folk song, the minor tune and the children's song four big categories. On the basis of the pentatonic structure, the overall structure of the tunes is composed of the principal tone and the upper and lower five tones as the backbone of the tunes. Its typical melodic progression is a four-degree distance around the main voice up or down. That is, 2-5-1, 5- 1-2-5, et al. This frame is one of the important factors forming the style and characteristics of the folk songs in Northern Shaanxi. It is this characteristic frame composed of folk songs that aptly depicts the boundless Loess Plateau in northern Shaanxi. The open natural geographical environment and the emotional world of the people living in this environment. The folk songs in Northern Shaanxi have a clear sense of space, rugged, high-pitched, free and free, and full of singing. There are many reasons for the formation of folk song style in Northern Shaanxi. The first part of this paper is mainly about history, geography and other local customs. Language characteristics and other aspects of the analysis of Northern Shaanxi folk song style formation reasons. The second part discusses the classification and style characteristics of folk songs in Northern Shaanxi. Northern Shaanxi has the Yellow River boatman, tamping, playing me, coal, and so on. Northern Shaanxi is characterized by the style of slightly slower speed, little change in strength, singing on the mouth, easy to listen to. Northern Shaanxi folk songs are mainly Xin Tian you and Shan qu. Xintian Tour is the most representative of the folk songs in Northern Shaanxi. It has more than 100 basic tunes, a square structure and a big melody. Rhythm type is characterized by split rhythm. The lyrics are usually two sentences with the structure of seven words and two sentences, and they are good at repeating sentences with heavy words. North Shaanxi minor has general minor, silk string minor, social fire minor and custom minor four. There are various styles in North Shaanxi minor, there are North Shaanxi style, there are Jiangnan style, there are two styles into one. In a word, the general melody of Northern Shaanxi minor is more smooth, or beautiful lyric, delicate, or sharp rhythm, smooth understanding. The third part of this paper discusses the main singing techniques in Northern Shaanxi folk songs. The folk songs in Northern Shaanxi are mainly performed with flat singing, and in addition, the techniques of straight, slippery, tremolo, broken singing and so on are also used. The style and singing skills of folk songs in Northern Shaanxi are rooted in the long and glorious history of Northern Shaanxi. Special geographical conditions and the north Shaanxi people tough, sincere, bold personality and helpful, not afraid of hardship, fighting upward, dare to hate the nature of love. As the saying goes: "believe in the sky, continue to head, broken head, the poor can not solve sorrow." From the agrarian revolution to the War of Resistance against Japan, it was the revolution that injected new vitality into the folk songs of Northern Shaanxi. The folk songs of northern Shaanxi and various musical works created according to the tones of the folk songs of northern Shaanxi fully reflect the spiritual outlook of the Chinese nation. Therefore, both in the past, in the present and in the future, the folk songs and their tones in Northern Shaanxi are important artistic forms reflecting the spirit of the times.
【学位授予单位】：西南师范大学
【学位级别】：硕士
【学位授予年份】：2001
【分类号】：J642.2;J616.2
【引证文献】
相关期刊论文 前1条
1 柳笛;;指尖上“唱响”的“信天游”——陕北民歌改编钢琴曲演奏特点初探[J];艺术研究;2007年01期
相关硕士学位论文 前8条
1 张红霞;陕北民歌与晋北民歌的比较研究[D];陕西师范大学;2011年
2 王玉威;西北地区合唱艺术发展探究[D];陕西师范大学;2011年
3 杨延文;论陕北民歌在初中音乐课程中的开发与运用[D];陕西师范大学;2011年
4 王彦蘅;金湖秧歌的艺术特色及其演唱风格[D];南京师范大学;2006年
5 吴丽芳;唐山地区民歌演唱技巧探究[D];河北师范大学;2008年
6 程亮;陕北民歌合唱形态及其审美效应[D];陕西师范大学;2010年
7 王亮;白秉权陕北民歌教学艺术研究[D];延安大学;2012年
8 王利国;山西民歌的艺术特色及其演唱实践探究[D];西南交通大学;2013年
本文编号：2180936
本文链接：https://www.wllwen.com/wenyilunwen/musictheory/2180936.html
