新疆维吾尔族改编民歌研究

发布时间：2018-06-11 23:30

本文选题：新疆维吾尔族改编民歌 + 音乐特征　；参考：《宁夏大学》2017年硕士论文

【摘要】：我国民族音乐历史悠久,经过了一个很漫长的发展历程,随着时代的变更,民族音乐拥有丰富的文化艺术积淀,在发展的进程中,一些具有丰富内涵和特色的音乐逐渐显现出来,走上了舞台被世人传唱。改编民歌是一种声乐艺术形式,是具有民族风格的创作作品,有其独特的内涵和精髓。本文将对新疆维吾尔族改编民歌进行多角度全方位的分析。论文正文共分为三大部分。第一部分是对维吾尔族以及维吾尔族改编民歌进行简要概述,这部分主要是对传统民歌在人们的日常生产生活中产生、改编民歌离不开传统民歌的发展和由来、二者的关系非常密切进行阐述。文章将改编民歌的定义做一界定,明确研究对象是改编民歌而非传统民歌,为撰写后面的文章打下基础。第二部分是整理新疆维吾尔族改编民歌具有代表性的作品,以《曲蔓地》、《青春舞曲》、《一杯美酒》、《阿拉木汗》、《半个月亮爬上来》、《思恋》等作品为例,通过对这些作品的音乐特征、文学特征和演唱这三方面,对维吾尔族改编民歌进行研究分析。此部分首先从歌曲的音乐本身的特征入手,包括旋律、调式、曲式结构、节奏以及节拍进行分析,其次是对维吾尔族改编民歌的文学特征进行分析,包括它的歌词以及内容分类。最后是对演唱技巧、发声特点、咬字吐字、节奏变化、对气息的处理,对作品旋律线的处理等方面进行分析以此让我们对维吾尔族改变民歌的演唱风格进行深入的了解。文章的第三部分则是通过我们对维吾尔族改编民歌的系统分析,对它有了一个深入的了解之后,对维吾尔族改编民歌进行一下展望,改编民歌由传统民歌发展而来,它更适应人们的喜好,更为大众所接受,表现形式和演唱方法和原来的作品相比较都有相对变化,作品风格更富有时代气息,改编后的作品被舞台艺术表演和声乐教学实践采用较多,我们应该将维吾尔族改编民歌继承发展,保护和传承少数民族音乐作品,针对这个问题文章在第三部分提出了一些相应的对策。维吾尔族改编民歌是在原传统民歌的基础上为寻找更适应人们演唱的方式,将传统民歌艺术化,融入钢琴伴奏,扩展了乐曲的内容、音乐形式更加丰富,对歌唱者的要求也更加严谨、规范,演唱难度上有所增加,对声乐表现力的完整性要求也更完善。文章写作的最后让我们深入的了解到了新疆维吾尔族改编民歌,文章主要通过一下具有代表性的作品来分析改编民歌的艺术特色,为促进新疆民族音乐的传承和发展进行展望,提出一些策略,进而希望我国的少数民族音乐作品可以源远流长,被更多的人演唱、欣赏。
[Abstract]:Chinese folk music has a long history and has gone through a long process of development. With the change of the times, folk music has a rich cultural and artistic accumulation, and in the process of development, Some with rich connotations and characteristics of music gradually emerged, on the stage was sung by the world. Adaptation of folk songs is a form of vocal music, is a national style of creative works, has its unique connotation and essence. This paper will analyze Xinjiang Uygur folk songs from various angles. The text of the thesis is divided into three parts. The first part is a brief overview of Uygur and Uygur folk songs, which is mainly about the traditional folk songs in people's daily production and life, the adaptation of folk songs can not be separated from the development and origin of traditional folk songs. The relationship between the two is very close. This paper defines the adaptation of folk songs and makes it clear that the object of study is adaptation of folk songs rather than traditional folk songs, which lays the foundation for writing the following articles. The second part is to sort out the representative works of Xinjiang Uygur folk songs, such as "Quvine Land", "Youth Dance", "A cup of wine", "Aramu Khan", "half moon climbing up", "thinking about love" and other works as examples, through the music characteristics of these works. The literary characteristics and singing of these three aspects, Uygur folk songs adapted to research and analysis. This part begins with the characteristics of the music itself, including melody, mode, musical structure, rhythm and rhythm, and then analyzes the literary characteristics of Uygur folk songs. Including its lyrics and content classification. Finally, the singing skills, vocal characteristics, pronunciation, rhythm changes, the treatment of breath, the processing of the melody line of works are analyzed in order to make us understand the singing style of Uyghur folk songs. The third part of the article is based on our systematic analysis of the Uygur folk songs adaptation, after having a deep understanding of it, the Uygur folk songs are expected to be adapted. The adaptation of folk songs is developed from the traditional folk songs. It is more suited to people's preferences, more acceptable to the public, the form of expression and singing methods are relatively different from the original works, the style of the works is more contemporary. The adapted works have been adopted more frequently by the stage art performance and vocal music teaching practice. We should inherit and develop the Uygur folk songs and protect and inherit the minority music works. In the third part, some corresponding countermeasures are put forward. On the basis of the original traditional folk songs, Uygur folk songs are adapted to people's singing methods, and the traditional folk songs are artistically integrated into the piano accompaniment, and the contents of the music are expanded, and the music forms are more abundant. The demands for singers are more rigorous, standardized, more difficult to sing, and more perfect for the integrity of vocal performance. At the end of the article, we deeply understand the adaptation of Xinjiang Uygur folk songs, the article mainly through the representative works to analyze the artistic characteristics of the adaptation of folk songs, in order to promote the inheritance and development of Xinjiang folk music. Put forward some strategies, and hope that our national minority music works can go back to ancient times and be sung and appreciated by more people.
【学位授予单位】：宁夏大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J607

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