山东蓬莱地区民歌研究

发布时间：2018-05-18 07:45

本文选题：蓬莱民歌 + 渔民号子　；参考：《山东师范大学》2010年硕士论文

【摘要】： 山东蓬莱地区民歌具有非常丰富独特的地域特征和文化特征。它涉及的生活面极为广泛,从民族历史到各个时代的社会生活,从各种劳动生活到家庭、婚姻和爱情,从民间风俗到宗教信仰,在不同的民歌中都得到不同程度的反应。蓬莱人民生活中丰富的音乐素材和特有的音乐语言形成了当地民歌的独特风格。笔者以蓬莱“渔民号子”(又称“登州号子”)和风俗歌“烧纸调”为主要研究对象,并着重从蓬莱渔民号子、烧纸调的分类简介、词曲和结构分析特点,以及文化遗产价值和保护传承的措施等方面进行认真细致的分析研究和挖掘整理,是人们能比较全面、多方位的认识蓬莱地区民歌的音乐特色及其所取得的艺术成就,为我国宝贵文化遗产的保护和传承发展做一点自己微薄的贡献。本文共分为四个章节。第一章简要介绍了民歌体裁的起源、分类和基本特征,以及蓬莱地区民歌形成的地理因素和文化背景。第二章介绍了蓬莱渔民号子和风俗歌烧纸调的种类、基本特征以及功用特征。第三章比较详尽的介绍了蓬莱渔民号子和风俗歌烧纸调的种类,蓬莱渔民号子的种类大体可分为:平号类、紧号类、抒情号类;风俗歌烧纸调分为接神调、安神调、送神调。文中对每个种类都进行了举例分析,对蓬莱渔民号子和风俗歌烧纸调进行了全面直观的阐述。从音乐本体方面深入分析了蓬莱渔民号子和风俗歌烧纸调的音乐特点,蓬莱渔民号子曲调随着劳动内容、强度和动作节奏的变化而变化,并以粗犷奔放、节奏紧凑有力的“宫”、“徵”调为主,以优美委婉、节奏和缓平稳的“商”、“羽”调式为辅,大部分是用衬词来指挥劳动和表达感情;风俗歌烧纸调音乐旋律婉转动听,节奏富于变化,演唱故事时,唱腔遵循“接神、安神······送神”的程式,中间根据故事内容自由选择调式。它的伴奏乐器为羊皮鼓,羊皮鼓形似蒲扇,使用时既是打击乐器,又是舞蹈道具。结合实例从用词、节奏和旋律方面着手,总结蓬莱民歌的词曲特点。而蓬莱民歌的结构特点,主要有上下句重叠式、一部式、二部式三种形式。第四章对蓬莱地区民歌的文化价值发展前景及保护传承(措施)进行分析研究。从蓬莱民歌当下的现状出发,结合当地的实际情况,为其得到合理有效地保护和传承提出可行性的建议。笔者希望通过对蓬莱民歌的全面阐述,使人们重新认识这一优秀的地域性民间音乐文化,从而有效地保护和传承这一宝贵的民间艺术瑰宝,使更多的人熟悉民歌、了解民歌。
[Abstract]:The folk songs in Penglai area of Shandong Province have rich and unique regional and cultural characteristics. It involves a wide range of life, from the history of the nation to the social life of each era, from various labor life to family, marriage and love, from folk customs to religious beliefs, in different degrees of response in folk songs. Penglai people's life rich in music materials and unique music language formed a unique style of local folk songs. The author takes Penglai "Fisherman" (also known as "Dengzhou") and custom song "Burning Paper tune" as the main research object, and focuses on the classification and introduction of Penglai fishermen's size, burning paper tune, the characteristics of ci and song and structure analysis. As well as the value of cultural heritage and measures to protect and inherit such aspects as careful analysis and excavation and sorting out, it is more comprehensive, multi-directional understanding of the music characteristics of folk songs in Penglai area and their artistic achievements, To our country's precious cultural heritage protection and inheritance and development to make their own modest contribution. This paper is divided into four chapters. The first chapter briefly introduces the origin, classification and basic characteristics of folk songs, as well as the geographical factors and cultural background of the formation of folk songs in Penglai area. The second chapter introduces the types, basic characteristics and functions of Penglai fishermen. The third chapter introduces in detail the kinds of Penglai fishermen's number and custom song burning paper, Penglai fishermen's type can be divided into: equal number, tight number, lyric type; custom song burning paper tune is divided into receiving god tune, tranquilizing spirit tune, sending god tune. In this paper, examples of each species are analyzed, and a comprehensive and intuitionistic explanation of Penglai fishermen's number and custom song burning paper tune is given. The music characteristics of Penglai fishermen's number and custom song burning paper tune are deeply analyzed from the aspect of music ontology. The Penglai fishermen's tune changes with the change of labor content, intensity and movement rhythm, and is bold and unrestrained. The rhythms of the "palace" and the "signs" are mainly in the form of graceful euphemism, gentle and smooth rhythm, "Shang" and "feather", most of which are used to direct labor and express feelings; folk songs, paper notes, music, melodies, and melodies are melodious. The rhythm is full of changes, singing the story, singing follow the "receive God, calm God" program, the middle according to the content of the story freely choose the mode. Its accompaniment instrument is sheepskin drum, sheepskin drum shaped like a bushel fan, when used is not only percussion instrument, but also dance props. Combined with examples, this paper summarizes the characteristics of Penglai folk songs in terms of words, rhythm and melody. The structural characteristics of Penglai folk songs mainly include superposition, one part and two parts. The fourth chapter analyzes the development prospect of cultural value and protection and inheritance of Penglai folk songs. Based on the present situation of Penglai folk songs and the actual local conditions, the feasible suggestions for its reasonable and effective protection and inheritance are put forward. The author hopes that through the comprehensive exposition of Penglai folk songs, people will know this excellent regional folk music culture again, so as to effectively protect and inherit this precious folk art treasure, so that more people will be familiar with folk songs and understand folk songs.
【学位授予单位】：山东师范大学
【学位级别】：硕士
【学位授予年份】：2010
【分类号】：J607

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