三弦与流行音乐结合的探索
发布时间：2018-08-04 07:48
【摘要】：近20年以来，随着我国改革开放的深入、经济高速发展以及文化繁荣生根，流行音乐在中国蓬勃发展，在此期间，吸纳了众多中国音乐元素，丰富了流行音乐的编曲，风格及演出形式。流行音乐在中国的不断本土化，三弦成为了其发展的特色组成部分，并出现了“京味儿民谣”的流行音乐风格。直至今日，何勇的《钟鼓楼》等歌曲仍然是流行音乐的经典；2014年“春晚”中，郝云的原创民谣歌曲《群发的信息我不回》中使用了大篇幅的三弦段落，而“三弦”成为了网络搜索的热门关键词。本文的研究对象集中于近20年来三弦与流行音乐结合的音乐现象，发展历程；分析相关音频、视频文本，研究三弦在流行音乐中的存在以及地位。笔者在文献研究基础上结合所记录谱例，分析旋律法则、节奏特征、和声织体和演奏版本等，从而得出三弦与流行音乐相结合的技术实证。第一章，笔者对流行音乐在中国的历史沿革进行了梳理，着重介绍近20年间三弦在流行音乐中的存在实例，找出研究不足：三弦与流行音乐结合的相关文献几近空缺。第二章，笔者分析了含有三弦的流行音乐，结合所记录谱例、歌词，加以说明流行音乐在中国本土化的技术实证；介绍新款三弦（待命名）的制作概念及创新特点。目前，学术界对三弦和流行音乐的结合方面，关注度不够，，理论层面甚至稀缺。本文对三弦和流行音乐结合的活态研究，以及对这一音乐现象的关注，希望可以填补这一种音乐文本的理论空白，丰富我国三弦多样性发展。此外，三弦不仅在传统音乐、现代音乐中传承，在流行音乐中国本土化的过程中，三弦的参与本身就是可资借鉴的宝贵经验。
[Abstract]:In the past 20 years, with the deepening of China's reform and opening up, the rapid development of economy and the rooting of culture, pop music has flourished in China. During this period, it has absorbed many elements of Chinese music and enriched the arrangement of pop music. Style and form of performance. With the localization of pop music in China, Sanxian has become the characteristic part of its development, and the pop music style of "Beijing folk ballad" has appeared. To this day, songs such as He Yong's Zhong Drum Tower are still popular music classics. In the 2014 Spring Festival Gala, Hao Yun's original folk song "I will not reply" uses a large three-string paragraph. And "three string" has become the hot keyword of network search. The research object of this paper is focused on the music phenomenon and development process of the combination of three strings and pop music in the past 20 years, analyzes the related audio and video texts, studies the existence and status of the three strings in pop music. On the basis of the literature research, the author combines the recorded examples, analyzes the melody rule, rhythm characteristics, harmony texture and performance version, and obtains the technical demonstration of the combination of three strings and pop music. In the first chapter, the author combs the historical evolution of pop music in China, emphatically introduces the existence of three strings in pop music in the past 20 years, and finds out the lack of research: the combination of three strings and pop music is almost vacant. In the second chapter, the author analyzes the popular music with three strings, combined with the recorded examples and lyrics, to illustrate the technical demonstration of the localization of pop music in China, and introduces the production concept and innovative characteristics of the new three-string (standby name). At present, academic circles pay less attention to the combination of three strings and pop music, and the theoretical level is even scarce. This paper studies the living state of the combination of three strings and pop music and pays close attention to this musical phenomenon, hoping to fill in the theoretical blank of this musical text and enrich the diversity of the three strings in China. In addition, three strings not only in traditional music, modern music inheritance, in the process of Chinese pop music localization, the participation of three strings itself is a valuable experience to be used for reference.
【学位授予单位】：中国音乐学院
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J632.34
本文编号：2163144
[Abstract]:In the past 20 years, with the deepening of China's reform and opening up, the rapid development of economy and the rooting of culture, pop music has flourished in China. During this period, it has absorbed many elements of Chinese music and enriched the arrangement of pop music. Style and form of performance. With the localization of pop music in China, Sanxian has become the characteristic part of its development, and the pop music style of "Beijing folk ballad" has appeared. To this day, songs such as He Yong's Zhong Drum Tower are still popular music classics. In the 2014 Spring Festival Gala, Hao Yun's original folk song "I will not reply" uses a large three-string paragraph. And "three string" has become the hot keyword of network search. The research object of this paper is focused on the music phenomenon and development process of the combination of three strings and pop music in the past 20 years, analyzes the related audio and video texts, studies the existence and status of the three strings in pop music. On the basis of the literature research, the author combines the recorded examples, analyzes the melody rule, rhythm characteristics, harmony texture and performance version, and obtains the technical demonstration of the combination of three strings and pop music. In the first chapter, the author combs the historical evolution of pop music in China, emphatically introduces the existence of three strings in pop music in the past 20 years, and finds out the lack of research: the combination of three strings and pop music is almost vacant. In the second chapter, the author analyzes the popular music with three strings, combined with the recorded examples and lyrics, to illustrate the technical demonstration of the localization of pop music in China, and introduces the production concept and innovative characteristics of the new three-string (standby name). At present, academic circles pay less attention to the combination of three strings and pop music, and the theoretical level is even scarce. This paper studies the living state of the combination of three strings and pop music and pays close attention to this musical phenomenon, hoping to fill in the theoretical blank of this musical text and enrich the diversity of the three strings in China. In addition, three strings not only in traditional music, modern music inheritance, in the process of Chinese pop music localization, the participation of three strings itself is a valuable experience to be used for reference.
【学位授予单位】：中国音乐学院
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J632.34
【参考文献】
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本文编号：2163144
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