新疆吉木萨尔回族“花儿”调查与研究

发布时间：2018-03-02 21:13

本文选题：回族花儿　切入点：吉木萨尔　出处：《新疆师范大学》2017年硕士论文　论文类型：学位论文

【摘要】：回族“花儿”自唐朝开始就有亚洲的伊斯兰诸国逐渐引进我国的西北地区,并且随着外族人民在西北地区的落户定居,使得回族“花儿”不断的发展壮大,逐渐的成为西北地区最重要的音乐表现形式之一。回族“花儿”是一种山歌品种,它是我国西北地区广大人民智慧的结晶,其中承载着西北地区人民生产与生活的影像,其表达内容的丰富多彩,所示意向的美好无一不显示出广大人民群众在日常的生产劳作中的勤劳朴素和美好憧憬,可以说回族“花儿”是西北地区民众将本民族热情,勤劳,勇敢,坚强,乐于助人,对生活的热爱以及对本民族信仰的崇拜与文化意识相结合的产物,是整个西北地区乃至全中国的文化瑰宝。新疆“花儿”在长期的历史发展与文化演绎中,结合了新疆当地的文化特色,不论是从风格特征,语言特色或是旋律曲调等方面,都已经烙上了具有新疆地域特色的文化烙印,具备独特的艺术特征,逐渐的发展成为回族“花儿“的一种流派。而这种流派既继承了回族“花儿”原有的风格特征,又在此基础上融入了特殊的地方文化特色,这在新疆昌吉地区尤为显著,吉木萨尔作为昌吉地区回族“花儿”最重要的传播地区之一,对于新疆回族“花儿”的发展与演绎具有重要的意义。[2]本论文的撰写主要立足于新疆昌吉吉木萨尔地区的地域特色,历史变迁以及笔者作为一个土生土长的吉木萨尔人对于该地区新疆回族“花儿”的发展的了解。并且结合相关的音乐专业知识,对新疆昌吉吉木萨尔回族“花儿”展开深入的分析。本次论文的撰写共分为6个部分进行。第一部分:该部分为本论文的绪论部分,这一部分笔者将对自身的写作缘由,研究背景以及研究意义做以交代,并将前期的收集的相关文献资料做以整体的总结综述。第二部分:这一部分交代回族“花儿”的来源于传入新疆地区的过程,此章是笔者引入新疆吉木萨尔回族“花儿”的基础和前提。第三部分:这部分笔者通过对吉木萨尔地区的概况简述,吉木萨尔地区回族“花儿”音乐类型的分类及其特点来交代新疆吉木萨尔地区回族“花儿”的相关概况。第四部分:该部分是此次论文撰写的一个重要部分,对新疆吉木萨尔回族“花儿”的艺术特征进行分析,以大量的例证为基础,从歌词特征,旋律特征,节奏节拍特征,调式特征,曲式结构特征,演唱方式六个方面来分别展开研究。第五部分:此章笔者从传承与发展的角度来展望新疆昌吉吉木萨尔回族“花儿”的未来,并且从自身的角度向新疆昌吉吉木萨尔回族“花儿”的发展提出了相关的建议以做参考。第六部分:该部分为文章的结论部分,将对全文做以整体的宏观概述。
[Abstract]:Since the Tang Dynasty, the Hui "Flower" has been gradually introduced into the Northwest region of China by the Islamic countries of Asia, and with the settlement of the foreigners in the Northwest, the "Huar" of the Hui nationality has continued to develop and expand. Gradually becoming one of the most important forms of music expression in Northwest China. Hui "Flower" is a kind of folk song variety, it is the crystallization of the wisdom of the vast numbers of people in Northwest China, which bears the image of the production and life of the people in Northwest China. The rich and colorful content of its expression and the beauty of its intentions show that the broad masses of the people are industrious, plain, plain and beautiful in their daily production and toil. It can be said that the Hui "flowers" are the people of the Northwest region who bring their own national enthusiasm and industriousness. A combination of courage, strength, helpfulness, love of life and worship of one's own national beliefs and cultural awareness, It is the cultural treasure of the whole northwest region and even of China. In the long history and cultural deduction of Xinjiang "Huar", it combines the local cultural characteristics of Xinjiang, whether from style, language or melody, etc. All of them have been branded with a cultural brand with regional characteristics in Xinjiang, with unique artistic characteristics, and gradually developed into a school of "flowers" of the Hui nationality, which not only inherits the original style characteristics of the "flowers" of the Hui nationality, On this basis, special local cultural characteristics have been incorporated, especially in Changji region of Xinjiang. As one of the most important spreading areas of Hui "flowers" in Changji region, Jimusar is one of the most important spreading areas. It is of great significance for the development and deduction of "Huar" of the Hui nationality in Xinjiang. [2] the writing of this paper is mainly based on the regional characteristics of Jimsar region in Changji, Xinjiang. Historical changes and the author's understanding of the development of the Hui "Flower" in Xinjiang as a native of Jimusar, and the combination of relevant music expertise, This paper is divided into six parts. The first part: this part is the introduction part of this paper. The background and significance of the study are explained, and the relevant literature collected in the previous period is summarized as a whole. Part two: this part of the account of the Hui "Flower" originated from the process of its introduction into Xinjiang. This chapter is the basis and premise of the introduction of "Flower" by the author of Jimusar Hui nationality in Xinjiang. The third part: this part of the author through the general situation of Jimousal region, The classification and characteristics of the music types of Hui "Flower" in Jimusar area, Xinjiang, to explain the related general situation of Hui "Flower" in Jimusar region, Xinjiang. Part 4th: this part is an important part of this paper. Based on a large number of examples, this paper analyzes the artistic characteristics of Huahua of Jimusar Hui nationality in Xinjiang, from the characteristics of lyrics, melodies, rhythms, tunes, musical structures, etc. 5th part: from the perspective of inheritance and development, the author looks forward to the future of "Flowers" of the Hui nationality in Changji Jimusar, Xinjiang. And from its own point of view to the Xinjiang Changji Jimusar Hui "Flower" development suggestions for reference. Part 6th: this part is the conclusion of the article, will do a macro overview of the whole text.
【学位授予单位】：新疆师范大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J607

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