中国竹笛南派、北派演奏艺术美学特征研究

发布时间：2018-05-09 12:49

本文选题：中国竹笛 + 南派　；参考：《西北民族大学》2017年硕士论文

【摘要】：作为中国笛类乐器鼻祖的贾湖骨笛的出土,标志着中国音乐史有着八千多年的悠久历史,同时它向人们告示:中国笛类乐器的发展经历了八千多年的漫长岁月,是一个具有强大生命力的民族乐器族群。20世纪50年代,笛子演奏家冯子存是第一位将竹笛作为独奏乐器登上舞台的演奏家。这对中国笛子艺术来说具有里程碑的意义。随着新中国文化艺术事业的发展,众多的笛子演奏家在不断的音乐艺术实践中涌现,逐渐形成了以冯子存、刘管乐、王铁锤为代表的北派竹笛;以陆春龄、赵松庭、俞逊发为代表的南派竹笛。中国竹笛的南派、北派是以演奏家为主体的音乐表演流派。本文从音乐美学的视角,以体验的方法、思辨的方法、音乐形态学的方法、比较研究的方法研究中国竹笛南派、北派演奏艺术之所以为美,并不同于其他音乐门类的美学特征。中国古典美学把美区分为阳刚之美与阴柔之美两大类型。这同时也是艺术意象、艺术典型、艺术风格的两大基本类型。据此,我们认为北派竹笛总体美学特征趋向于阳刚之美,南派竹笛则以阴柔之美为其基本的美学特征。依据刚柔动静互补互动相联系的观点,我们认为在阳刚与阴柔之间尚存在倚阳偏阴,倚阴偏阳的中间状态及阴阳交融的美学形态。在阳刚与阴柔两大美学范畴的涵盖下,南派竹笛还具有意境美、旋律美、音色美以及在气韵生动的音乐表演状态中倾向于韵味的阴柔之美。北派竹笛则在气韵生动的音乐表演状态中倾向于生命力展示的阳刚之美以及派中有派的多色彩的美学展现。通过对《鹧鸪飞》《喜相逢》两首南、北派竹笛代表曲目的对比研究,进一步形象地佐证,并夯实对南、北派竹笛演奏艺术美学特征的研究结论。
[Abstract]:The unearthed bones of Jia Hu, the ancestor of Chinese flute instruments, symbolized the long history of Chinese music over 8,000 years. At the same time, it announced to people that the development of Chinese flute instruments had been going through more than 8,000 years. In the 1950s, the flute player Feng Zicun was the first player to use bamboo flute as a solo instrument on the stage. This is a milestone for Chinese flute art. With the development of cultural and artistic undertakings in New China, numerous flute players emerged in the continuous practice of music and art, and gradually formed the northern bamboo flute represented by Feng Zichun, Liu Quanle, and Wang Tieheng; Lu Chunling, Zhao Songting, Yu Xunfa as the representative of the southern school bamboo flute. The south school of Chinese bamboo flute, the north school is the music performing school with the player as the main body. From the point of view of music aesthetics, this paper studies the aesthetic characteristics of Chinese bamboo flute south school and north school playing art in terms of experience method, speculative method, music morphology method and comparative study method, which is different from the aesthetic characteristics of other music categories. Chinese classical aesthetics divides beauty into two types: masculine beauty and feminine beauty. At the same time, it is the two basic types of art image, art model and art style. Based on this, we think that the overall aesthetic characteristics of the bamboo flute of the Northern School tend to the beauty of masculinity, while the beauty of the Yin and the soft is the basic aesthetic feature of the bamboo flute of the South School. According to the point of view of the relationship between rigid and flexible dynamic and dynamic interaction, we believe that there are still some aesthetic forms between masculinity and yin-softness, between yin-yang and yin-yang, between yin-yang and yin-yang, and between yin-yang and yin-yang. Under the two aesthetic categories of masculine and feminine, the southern bamboo flute also has artistic conception beauty, melody beauty, timbre beauty and the feminine beauty that tends to charm in the lively music performance state. The northern bamboo flute tends to display the masculine beauty of vitality and the multi-color aesthetics of school in the lively musical performance. Based on the comparative study of the two southern and northern bamboo flute representative tracks, this paper further verifies the image, and compacts the research conclusions on the artistic aesthetic characteristics of bamboo flute playing in the south and north schools.
【学位授予单位】：西北民族大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J632.11

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