尼玛拉毛声乐艺术研究
发布时间：2018-11-04 11:04
【摘要】：声乐艺术是一种技术,更是一种关于人的文化。近年来,通过一代代声乐艺术家的积极努力,中国的民族声乐艺术不断传承创新,取得了较大的发展。在这个过程中,众学者从不同角度和侧面出发,对声乐艺术表现及其本质进行了研究,并取得了较多的成果。但是已发表的相关专著及论文中,大多偏重于对声乐作品的分析而忽视了对声乐艺术家的专门研究,使得中国民族声乐传承有一定程度的缺失而不能全面系统的发展。 本文以兰州军区战斗文工团独唱演员尼玛拉毛为研究对象,介绍其成长经历及艺术发展过程,在此基础上对其十几年的中国民族声乐艺术表演经历,特别是藏族民歌的传承、交融及再创作方面进行总结,通过对其声乐作品的研究展现尼玛拉毛独有的演唱特征及艺术特色,进而推动大众对于声乐艺术的认识及对藏族民歌的体会,弥补了声乐领域对少数民族声乐艺术家研究的不足。 对于本课题的研究,本论文通过以下五部分呈现：第一章绪论部分,主要对藏族民歌特点和尼玛拉毛、才旦卓玛、常留柱三位艺术家进行了简单介绍。第二章主要阐述了尼玛拉毛的从艺经历,第三章分析了尼玛拉毛的演唱理念和演唱特色,并将其与才旦卓玛和同时期民族歌手的声乐艺术进行比较分析；第四章介绍尼玛拉毛的成就归因；第五章综述尼玛拉毛声乐艺术研究,对当前民族声乐发展进行思考,并对未来民族声乐发展提出构想。
[Abstract]:Vocal music art is a kind of technology, but also a kind of human culture. In recent years, through the active efforts of generations of vocal artists, Chinese national vocal art has been continuously inherited and innovated, and has made great progress. In this process, many scholars from different angles and aspects of vocal performance and the nature of the study, and achieved a lot of results. However, most of the published monographs and papers focus on the analysis of vocal music works and ignore the special research on vocal music artists, which makes the Chinese national vocal music inheritance lack of a certain degree and can not be fully and systematically developed. In this paper, Nimarama, a soloist of the Lanzhou military Regiment, is taken as the research object to introduce his growing up experience and art development process. On this basis, the author gives an account of his more than ten years of Chinese national vocal music performance experience, especially the inheritance of Tibetan folk songs. In the aspect of blending and re-creation, through the study of his vocal music works, he shows the unique singing and artistic characteristics of Nimara Mao, and then promotes the public's understanding of vocal music art and the understanding of Tibetan folk songs. It makes up for the lack of research on minority vocal artists in the field of vocal music. For the research of this topic, this paper presents through the following five parts: the first chapter of the introduction, mainly on the Tibetan folk songs and the characteristics of Nimalama, Cedain Zhoima, Changliu three artists for a brief introduction. The second chapter mainly expounds the experience of Nimarama from the art, the third chapter analyzes the singing concept and characteristics of Nimarama, and compares it with Cedain Zhoima and the vocal art of the national singers of the same period. The fourth chapter introduces the achievement attribution of Nimarama, the fifth chapter summarizes the study of the vocal music art of Nimala, thinks about the development of the national vocal music, and puts forward some ideas for the future development of the national vocal music.
【学位授予单位】：山东大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J616.2
[Abstract]:Vocal music art is a kind of technology, but also a kind of human culture. In recent years, through the active efforts of generations of vocal artists, Chinese national vocal art has been continuously inherited and innovated, and has made great progress. In this process, many scholars from different angles and aspects of vocal performance and the nature of the study, and achieved a lot of results. However, most of the published monographs and papers focus on the analysis of vocal music works and ignore the special research on vocal music artists, which makes the Chinese national vocal music inheritance lack of a certain degree and can not be fully and systematically developed. In this paper, Nimarama, a soloist of the Lanzhou military Regiment, is taken as the research object to introduce his growing up experience and art development process. On this basis, the author gives an account of his more than ten years of Chinese national vocal music performance experience, especially the inheritance of Tibetan folk songs. In the aspect of blending and re-creation, through the study of his vocal music works, he shows the unique singing and artistic characteristics of Nimara Mao, and then promotes the public's understanding of vocal music art and the understanding of Tibetan folk songs. It makes up for the lack of research on minority vocal artists in the field of vocal music. For the research of this topic, this paper presents through the following five parts: the first chapter of the introduction, mainly on the Tibetan folk songs and the characteristics of Nimalama, Cedain Zhoima, Changliu three artists for a brief introduction. The second chapter mainly expounds the experience of Nimarama from the art, the third chapter analyzes the singing concept and characteristics of Nimarama, and compares it with Cedain Zhoima and the vocal art of the national singers of the same period. The fourth chapter introduces the achievement attribution of Nimarama, the fifth chapter summarizes the study of the vocal music art of Nimala, thinks about the development of the national vocal music, and puts forward some ideas for the future development of the national vocal music.
【学位授予单位】：山东大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J616.2
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