宁夏六盘山地区“山花儿”及其演唱风格

发布时间：2018-04-26 06:33

本文选题：六盘山 + 花儿　；参考：《中央民族大学》2007年硕士论文

【摘要】： 宁夏六盘山地区地处宁夏回族自治区南部，包括固原县、海原县、泾源县、西吉县、隆德县、彭阳县和同心县的部分地区。这里有着悠久的历史，是中原文化与北方草原文化的接壤地带，又是中西文化交流的通道，历史上发生过很多次政治、经济、文化、宗教的交流以及民族大迁徙、大融合。这里居住着相对于全国、甚至是全宁夏人口比例最多的回族，他们虔诚的信奉伊斯兰教，宗教文化的烙印极深。在这一地区，流传着区别于其他西北地区“花儿”的具有鲜明特点的“山花儿”。 “山花儿”又叫干花儿、土花儿，是宁夏六盘山地区的一种山歌。正是由于这一地区的地理环境、历史文化以及宗教信仰等的原因，使这一地区流行的“山花儿”既有“花儿”的某些特征，，又受当地山歌(如信天游)和小调还有伊斯兰教赞圣诵经音调的影响，由此也形成了宁夏六盘山地区“山花儿”独特的音乐特征和鲜明的个性。本文以宁夏六盘山地区的历史文化与音乐文化为铺垫，介绍了宁夏六盘山地区“山花儿”的产生、演变和发展。重点介绍了“山花儿”的文学形态特征和音乐形态特征以及“山花儿”的演唱方法。最后，通过对“山花儿”传播和传承的概述，提出了对于民间音乐保护和发展的建议和意见。文章分为五个部分：第一章：宁夏六盘山地区。从地理、人文、宗教、民俗等方面介绍了六盘山地区的历史文化；从六盘山地区流传的民间歌曲、民间器乐、民间戏曲以及宗教音乐介绍了六盘山地区的音乐文化。第二章：宁夏六盘山的“山花儿”。本章是文章的重点，介绍了“山花儿”的产生、演变和发展；通过与“河州花儿”和“洮岷花儿”在音乐和文学上的比较，重点介绍了“山花儿”的文学形态特征和音乐形态特征。第三章：宁夏六盘山地区“山花儿”的演唱风格。本章也是文章的重点，详细介绍了“山花儿”的语言特点、演唱方法、润腔技巧等，对“山花儿”、“河州花儿”以及“洮岷花儿”演唱上的比较，总结出个人的观点和看法。第四章：“山花儿”的传承与传播。本章介绍了“山花儿”的传承方式与传播途径，并介绍了几位从事传承与传播工作的民间歌手。结语：现状与展望。本章在总结全文的基础上，提出了对“山花儿”保护和发展的建议和意见。
[Abstract]:Ningxia Liupanshan region is located in the southern part of Ningxia Hui Autonomous region, including Guyuan County, Haiyuan County, Jingyuan County, Xiji County, Longde County, Pengyang County and Tongxin County. There is a long history here, which is the contiguous zone between Central Plains culture and northern prairie culture, as well as the channel of cultural exchange between China and the West. There have been many times of political, economic, cultural and religious exchanges in history, as well as the great migration and integration of ethnic groups. It is home to the Hui nationality, which has the largest proportion of people in the whole country and even the whole Ningxia. They profess Islam and deeply imprint the religious culture. In this area, different from other northwest regions, the "flowers" with distinctive characteristics of the mountain flowers. Mountain flowers, also called dry flowers, earth flowers, is a folk song in Liupanshan area of Ningxia. It is precisely because of the geographical environment, historical culture and religious beliefs of this region that the popular "mountain flowers" in this region have some characteristics of "flowers". It is also influenced by local folk songs (such as Xintian Tour) and Islamic hymns and chanting tones, thus forming the unique musical characteristics and distinctive personality of "Mountain Flower" in Liupanshan region of Ningxia. Based on the historical culture and music culture of Liupanshan area in Ningxia, this paper introduces the emergence, evolution and development of "Mountain Flower" in Liupanshan area of Ningxia. This paper mainly introduces the literary and musical features of the Mountain Flower and the singing method of the Mountain Flower. Finally, by summarizing the spread and inheritance of "Mountain Flowers", the author puts forward some suggestions and suggestions for the protection and development of folk music. The article is divided into five parts: Chapter one: Ningxia Liupanshan region. This paper introduces the history and culture of Liupanshan area from geography, humanities, religion and folklore, and introduces the music culture of Liupanshan area from folk songs, folk instrumental music, folk opera and religious music. Chapter two: the Mountain Flowers in Liupanshan of Ningxia. This chapter is the focus of the article, introduces the emergence, evolution and development of "Mountain Flower", through the comparison with "Hezhou Flower" and "Tao Min Flower" in music and literature, This paper mainly introduces the literary and musical features of Mountain Flower. Chapter three: the singing style of Mountain Flower in Liupanshan area of Ningxia. This chapter is also the focal point of the article, introduces in detail the language characteristic, the singing method, the moistening cavity skill and so on of "Mountain Flower", "Hezhou Flower" and "Tao Min Flower", sums up the personal viewpoint and the opinion on the singing of "Mountain Flower", "Hezhou Flower" and "Tao Min Flower". Chapter four: the inheritance and dissemination of Mountain Flowers. This chapter introduces the way of passing on and spreading of Mountain Flowers, and introduces several folk singers who are engaged in the work of inheritance and dissemination. Conclusion: current situation and Prospect. On the basis of summing up the full text, this chapter puts forward some suggestions and suggestions on the protection and development of "Mountain Flower".
【学位授予单位】：中央民族大学
【学位级别】：硕士
【学位授予年份】：2007
【分类号】：J607

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