昌黎民歌研究

发布时间：2018-03-20 18:14

本文选题：昌黎民歌　切入点：风格　出处：《河北大学》2009年硕士论文　论文类型：学位论文

【摘要】：昌黎是文化大县,是昌黎民歌的主要栖息地,1998年被文化部命名为全国民歌之乡,2008年昌黎民歌又被认定为第二批国家级非物质文化遗产。现在能够收集整理到的昌黎民歌共有近200首,以乡间小调和劳动号子居多,内容分为生产劳动、故事传说、爱情婚姻、日常生活、风俗习惯和抗日民歌等六大类,演唱形式包括秧歌调、单口唱和对口篇三种。昌黎民歌囊括了宫、商、角、徵、羽等各类五声调式,以徵调式居多,其中宫调式、徵调式歌曲色彩明亮,符合汉族民歌的一般规律,而羽调式、角调式民歌色彩也较明亮,不符合汉族民歌的常态,商调式民歌色彩则较中庸。昌黎民歌的曲式多为四句结构的一段体,最常用的音组是“2 7 6”,其歌词结构符合汉民歌的一般规律,衬字、衬句运用较多。昌黎民歌在演唱实践中用自己独特的语言概括出了许多传统声乐理论,如气息方面的：“胸围腰背八分满”、“气口安排好,呼吸有分寸”、“大换气,小偷气,不蛮喊,留余地”等；咬字吐字方面的：“吐字如钉,行腔如云”、“快要有字,慢要有味”、“快而不乱,慢而不断”等,通过倚音、滑音等解决了“倒字”问题。昌黎民歌在歌唱中侧重“高位,靠前,明亮,集中”的上部共鸣,对登台亮相、声音处理、动作处理、歌唱速度、歌唱强弱等都有很好的理论总结。昌黎民歌的润腔方法丰富多彩,利用声音的连断、音色的变化、以及一些技巧性的润腔方法(如卷舌音、嘟噜音、滑音、颤音和倚音、重尾音和速度、力度的变化等),增强了地方民歌艺术的浓郁乡土气息。遗憾的是,昌黎民歌正在淡出昌黎百姓的生活。笔者希望能够通过地方政府职能部门担负起责任,充分发挥声像传媒、学校教育的巨大作用,并注重对昌黎民歌演唱方法的传承,实现昌黎民歌的健康发展。
[Abstract]:Changli is a big cultural county. Changli folk song is the main habitat of Changli folk songs. In 1998, it was named as the hometown of national folk songs by the Ministry of Culture. In 2008, Changli folk songs were recognized as the second batch of national intangible cultural heritage. There are now nearly 200 Changli folk songs that can be collected and collated. It is divided into six categories: production labor, story and legend, love and marriage, daily life, custom and anti-Japanese folk song. The singing forms include Yangge tune, single singing and counterpart song. Changli folk songs include various kinds of five tones, such as palace, Shang, angle, sign, feather and so on. Most of them are tone style. Among them, palace tone type, tone style song color is bright, accord with the general rule of Han nationality folk song, and plume style, angle mode folk song color is also bright. It is not in accordance with the normal state of Han folk songs, but the color of commercial folk songs is more moderate. Changli folk songs are mostly composed of a four-sentence structure, and the most commonly used group is "27.6". Its lyric structure is in line with the general rules of Han folk songs. Changli folk song has summarized many traditional vocal music theories with its own unique language in singing practice, such as breath: "chest, waist, back, eight points full", "air mouth arrangement, breathing is measured", "big breath, thief's anger, not quite shouting, leaving room", etc. Pronunciation of characters: "spelling such as nail, line like a cloud", "about to have words, slow to taste", "fast and not chaotic, slow and constant," and so on, through the sound, slippery tone and so on to solve the problem of "inverted characters." Changli folk songs in the singing emphasis on "high, forward," Bright, concentrated "upper resonance, for the stage appearance, sound processing, action processing, singing speed, singing strong and weak have a good theoretical summary." Changli folk songs have rich and varied methods of moistening, making use of the continuity of sound, the change of tone color, as well as some technical methods (such as rolling, purring, sliding, tremulating and leaning, heavy tail and speed, etc.). The change of dynamics and so on has strengthened the local folk song art rich local flavor. Unfortunately, Changli folk songs are fading out of the lives of ordinary people in Changli. The author hopes to be able to take responsibility through local government functions and give full play to the great role of audiovisual media and school education. And pays attention to the Changli folk song singing method inheritance, realizes the Changli folk song healthy development.
【学位授予单位】：河北大学
【学位级别】：硕士
【学位授予年份】：2009
【分类号】：J607

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