《99首蒙古民歌精

发布时间：2018-01-10 22:32

本文关键词：《99首蒙古民歌精选》研究　出处：《内蒙古师范大学》2008年硕士论文　论文类型：学位论文

【摘要】： 蒙古族是我国民族大家庭的一员,有着悠久的历史和灿烂的文化。在蒙古族漫长的发展过程中,音乐始终伴随着他们的历史,在多种音乐艺术形式中,民歌堪称是整个内蒙古草原音乐文化的主流,可以这样说:蒙古民族是音乐的民族,辽阔的草原就是民歌的海洋。如今,我们在惊叹蒙古族人民非凡的艺术创造力的同时也深深的感到研究、保存和传承蒙古族民歌的必要性和重要性。在这方面已经有很多专家学者作了多年和大量的研究工作,也有众多的学术著作问世。《99首蒙古民歌精选》就是其中之一。作者编著本书的目的就是要推广蒙古民歌,弘扬草原文化,振兴民族音乐,它堪称是一部荟萃着蒙古民歌精华的民歌集,作品中的民歌是由著名音乐理论家乌兰杰先生,马玉蕤女士从数千首各地蒙古族民歌中精选出来加以编排的,具有很高的审美价值和认知价值。书中的每首歌曲用蒙汉两种文字配歌,五线谱与简谱合璧,由著名音乐学家赵宋光先生编配了钢琴伴奏,可以用做声乐教材,实为难能可贵。本文的第一章对蒙古族民歌进行概括叙述,第二章立足作曲理论角度,运用文献分析法,音乐形态分析,民族音乐学等方法,将书中所选歌曲进行分类,分三节从民歌的音乐形态特点,地域风格色彩,题材内容等方面展开分析研究,其中音乐形态的分析是重点内容,包括音阶调式、旋律及结构、节拍特点三个小节。这样归纳总结出蒙古族民歌的诸多特点,深化对蒙古族民歌的认识。赵宋光先生为《99首蒙古民歌精选》编配的钢琴伴奏,充分体现了把民族文化所特有的调式特点与科学的调式功能和声相结合的原则,既充满了功能上的动力性,又有着极其丰富的和声色彩,并准确的表达了民歌的意境和音乐审美风格,在多声部织体与蒙古族音乐风格相融合方面做了大胆的尝试和有益的探索。笔者在第三章对《99首蒙古民歌精选》民歌伴奏的分析主要立足两个方面,即:多声部织体形态和独特的和声处理。第一节从和声性的织体形式,复调手法的运用,伴奏中与民歌风格紧密结合的节奏型,长调民歌的伴奏写作四个方面展开。第二节解读了书中运用的一些独特的和声及作曲理论,探索如何将民歌与多声部的伴奏织体形态相融合。最后一章进行了小结,提出了本文的不足之处。总之,本文希望让更多的人熟悉和应用《99首蒙古民歌精选》,也为今后继续学习研究蒙古族音乐艺术奠定更多基础,同时希望笔者的研究能为弘扬蒙古族音乐文化做一点贡献。
[Abstract]:Mongolian is a member of the big family of the Chinese nation, has a long history and splendid culture. In the process of development of Mongolian long, music has always been accompanied by their history, in a variety of musical art form, which is the mainstream of the grasslands of Inner Mongolia folk music culture, it can be said: Mongolia is the national the music of the national, the vast grassland is the sea of folk songs. Today, we marvel at the Mongolian People's extraordinary artistic creativity but also deeply felt on the preservation and transmission of Mongolian folk songs and the importance and necessity of. There have been many experts and scholars for many years and a lot of research work in this area, there are many academic works published.<99 Mongolia folk songs featured "is one of them. The author of this book is to promote the Mongolia folk songs, promoting grassland culture, the revitalization of the national music, it is called a Hui The essence of the folk songs of Mongolia folk songs were set in the works of folk songs by famous music theorist Mr. Orange, Ms. Ma Yurui selected from thousands of local Mongolian folk song arrangement, with aesthetic value and cognitive value is very high. Each song in the book with Mongolian and Chinese two languages with songs and music musical style, by the famous musician Mr. Zhao Songguang gives the piano accompaniment, can be used to do the vocal teaching, is commendable.
The first chapter of this article summarizes the narrative of Mongolian folk songs, the second chapter based on the angle of composing theory, using literature analysis, morphological analysis of music, folk music and other methods, in the book of songs selected for classification, divided into three sections from the musical features of folk songs, regional style color, analyze and research the theme the analysis of music form, is the focus of the content, including scale mode, melody and rhythm structure, characteristics of the three sections. It summarized the features of Mongolian folk songs, to deepen understanding of the Mongolian folk songs. The song is <99 light Mr. Mongolia folk songs featured on piano accompaniment, fully embodies the the unique national culture mode and scientific mode and function of the principle of combining both full of power function, and has extremely rich harmonic color, and accurate expression of the folk songs. The environment and music aesthetic style, texture and Mongolian music style in the fusion of multi part make a bold attempt and useful exploration. In the third chapter the author analysis on <99 of Mongolia folk songs featured folk song accompaniment > mainly based on two aspects, namely: polyphonic texture and unique harmony first. Section from the harmonic texture form, the use of polyphony, rhythm and accompaniment in combination of folk style, long song accompaniment four aspects of writing. Section second explains some of harmony in the use of theory and composition, to explore the folk songs and the accompaniment form the integration. The last chapter gives a summary, put forward the inadequacies of this article. In short, this paper hopes to let more people familiar with <99 and application of Mongolia folk songs featured ", but also for the future to continue to study Mongolian music art for more At the same time, I hope that the author's research can make a little contribution to the development of Mongolian music culture.

【学位授予单位】：内蒙古师范大学
【学位级别】：硕士
【学位授予年份】：2008
【分类号】：J607

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