论民间小调《绣荷包》的传统艺术风格及其审美观

发布时间：2018-06-24 04:32

本文选题：《绣荷包》 + 艺术风格　；参考：《山东师范大学》2005年硕士论文

【摘要】：《绣荷包》是我国各地区广为流传的传统小调。在漫长的发展过程中,经过几代人的润色加工、再创造和发展,日臻完善。在民歌的汪洋大海中,《绣荷包》虽然只是一朵小小的浪花,但是作为一种传统的艺术形式,通过对其渊源、音阶、调式、演唱等诸方面的分析,却能发现中国传统民歌中地域性、乡土性的文化特征,形象地反映了某一时代的人们对爱情生活的特殊感受和理解,而在这种特定的历史、环境和人群中所形成的独具特色的艺术风格,在审美形式上却显示出了更深一层的文化底蕴。据统计,在我国汉族各地区大约流传有近百首《绣荷包》同名小调,在如此庞大的体系中,每一首《绣荷包》的艺术风格却各具特色。一是唱词内容丰富多彩,或表达男女之间的爱情,或赞美生活,或描写历史,但都离不开“绣荷包”这一文学母题;二是由于各地区的地理环境、方言、文化、历史、风俗等不同,曲调旋律色彩各异,呈现出缤纷多彩的特点;三是任何一首民歌都必须通过演唱来进行传播和交流,然而各地区的传统演唱技巧都具有浓郁的地方特色,这就使得流传于不同地区《绣荷包》的演唱风格也存在一定的差异。本文在阐述《绣荷包》的历史、流传和总体风格特点后,以山东地区的十四首《绣荷包》为例,进一步说明即使在同一地区内流传的同名小调,它们之间也具有不同的风格特征。在全球化趋势加快发展的当今社会中,人们的审美观与过去相比发生了巨大的变化,《绣荷包》作为一种传统的艺术形式,必然会与现代社会的审美观念发生冲突,本文试图通过对两方面的阐述,即新的创作技法和民族新唱法,解决《绣荷包》的传统性与现代人审美观之间的关系。文章分为三个部分: 第一部分概括《绣荷包》的历史发展、流传和现状,以及在漫长的历史进程中所形成的社会功能与表现作用,同时从曲调、歌词、演唱三方面总体地分析《绣荷包》的风格特征,以清晰地勾画出《绣荷包》小调的基本特点。第二部分对《绣荷包》小调进行区域化的分析,以山东地区为例,考察十四首《绣荷包》的流传与现状,并以艺术风格的三要素即曲调、歌词、演唱为写作框架,具体探究山东《绣荷包》本身所具有的传统特色。第三部分以美学考察作先导,解决《绣荷包》作为传统民歌,应如何处理好与现代审美观念之间的关系,从而为现代人所接受这样一个问题。通过对《绣荷包》小调的比较分析,本文得出如下认识:1、《绣荷包》是一首在明清时期就广为流传的传统小调,虽然属于流传于不同地区的同名小调,其歌词都共同维系着“绣荷包”这一“文学母题”,但每一首《绣荷包》的曲调和
[Abstract]:Embroidered bag is a popular traditional minor in various areas of our country. In the long process of development, after several generations of retouching processing, re-creation and development, improving. In the vast ocean of folk songs, "embroidered bag" is just a small spray, but as a traditional art form, through the analysis of its origin, scale, tone, singing and other aspects, However, it can be found that the regional and local cultural characteristics of Chinese traditional folk songs vividly reflect the special feelings and understanding of love life of people of a certain era, and in this particular history, The unique artistic style formed in the environment and crowd shows a deeper cultural connotation in aesthetic form. According to statistics, there are about a hundred "embroidered bags" in minor of the same name in various areas of Han nationality in our country. In such a large system, each "embroidered purse" has its own artistic style. One is the rich and colorful content of singing words, or the expression of love between men and women, or the praise of life, or the description of history, but they are all inseparable from the literary motif of "embroidered purse"; second, because of the geographical environment, dialect, culture, history of various regions, Different customs, different tunes and melodies, showing colorful features; third, any folk song must be transmitted and exchanged through singing, but the traditional singing techniques in all regions have strong local characteristics. This makes it possible to spread in different regions of the singing style of embroidery bag also has certain differences. After expounding the history, circulation and overall style of embroidery, this paper takes 14 "embroidered bags" in Shandong as an example to further illustrate the minor tune of the same name that is circulating in the same area. They also have different stylistic features. In today's society with the rapid development of globalization, people's aesthetic standards have changed greatly compared with the past. As a traditional art form, embroidery bag will inevitably conflict with the aesthetic concept of modern society. This paper attempts to solve the relationship between the tradition of "embroidered purse" and modern aesthetics through the elaboration of two aspects, namely, the new creative techniques and the new singing method of the nation. The article is divided into three parts: the first part summarizes the historical development, spread and present situation of "embroidered bag", as well as the social function and expression function formed in the long historical process. At the same time, the style features of "embroidered purse" are analyzed in three aspects: tune, lyrics and singing, so as to clearly outline the basic characteristics of "embroidered purse" minor. The second part analyzes the regionalization of "embroidered purse" minor, taking Shandong as an example, investigates the spread and present situation of fourteen "embroidered bags", and takes the three elements of artistic style, namely, tune, lyrics and singing as the writing frame. Specifically explore the Shandong embroidery bag itself has the traditional characteristics. The third part takes aesthetic investigation as the guide to solve the problem of "embroidered bag" as a traditional folk song, how to deal with the relationship between it and the modern aesthetic concept, so as to be accepted by modern people. Through the comparative analysis of "embroidered purse" minor, this paper draws the following conclusions: 1, "embroidered purse" is a traditional minor that was widely spread in the Ming and Qing dynasties, although it belongs to a minor of the same name that has been circulating in different regions. The lyrics all hold together the "literary motif" of "embroidered purse", but the tune of each "embroidered purse" and
【学位授予单位】：山东师范大学
【学位级别】：硕士
【学位授予年份】：2005
【分类号】：J607

【引证文献】