“情”“声”“字”“气”——中国古代音乐美学思想视野下的唱论研究

发布时间：2018-04-27 02:25

本文选题：中国古代音乐美学史 + 唱论　；参考：《江西师范大学》2008年硕士论文

【摘要】： 在漫长的历史长河中,儒道音乐美学思想的发展与演变,成就了一部中国音乐美学的发展历史,而声乐作为一门艺术也是在这两种主要的美学思想的影响和引导下生根发芽的。对中国古代音乐美学思想视野下的声乐文献作一个比较研究,有利于我们全面梳理中国古代音乐美学视野下的声乐理论的发展历史以及更清楚地把握古人在声乐上地审美要求和趣旨。同时还有利于今人对中国古代声乐理论指导下的音乐行为、音乐成果进行更深入的美学审视。长期以来,有不少人曾对古代单个的声乐论著或文献做过细致的研究,但对古代声乐文献作比较系统、整体研究的还不多不深,特别是结合中国古代的音乐美学思想来谈的更少,因此笔者想在这篇文章中通过对古代的声乐文献作一个综合性的美学上的比较研究,以此帮助我们更好更深地理解吸收古人对于声乐的观点,对我们以后的声乐教学和表演上起到更多的指导作用。本文共分五章: 第一章主要论述中国古代音乐美学史的历史进程和基本特征。这部分论述主要从三个方面来论述:中国古代传统文化的历史进程、中国古代儒道美学思想发展的历史进程、中国古代音乐美学史的基本特征。第二章主要从声乐发展史的角度介绍了古代声乐发展的特征及有关人物。由于中国古代社会历史的变迁发展,各个时期的声乐风格也各有不同,出现了一些著名的声乐演唱家。这部分论述了在不同时期古代声乐发展过程中的三种主要特征。第三章主要对中国古代传统唱论做历史文化剖析。这部分分别从中国古代传统唱论的社会背景和中国古代传统唱论的文化背景来进行论述。第四章主要对中国古代音乐美学史的大背景下的有关文献本体做比较研究。这部分主要论述了四种关系:情与声的关系、声与字的关系、情与气的关系、气与声的关系,最后再对这四个概念之间的关系做了辩证的分析。第五章主要对中国传统唱论与现代民族声乐理论的有关声乐基础概念与文化背景作比较分析。中国古代社会长期处于封建社会状态,以农业文化为基本特征,因此当时对于传统唱论的一些观点稍显保守、狭隘。随着时代的进步,社会形态发生了改变,中国现代社会文化呈现出多元发展的特征,而现代民族声乐理论也更科学、更开放。最后为结语部分,这部分号召声乐工作者对我国古代传统唱论做更全面细致的研究,以便于更好地发掘利用我国宝贵的文化财产,为今后的教学及表演提供更丰富的经验指导。
[Abstract]:In the long history, the development and evolution of music aesthetics of Confucianism and Taoism has made a history of Chinese music aesthetics, and vocal music, as an art, has taken root under the influence and guidance of these two main aesthetic thoughts. A comparative study of vocal music literature from the perspective of ancient Chinese musical aesthetics, It is helpful for us to comb the development history of vocal music theory from the perspective of ancient Chinese music aesthetics and to grasp more clearly the aesthetic requirements and interesting tenets of the ancients on vocal music. At the same time, it is helpful for people to conduct a deeper aesthetic survey on the musical behavior and musical achievements under the guidance of the ancient Chinese vocal music theory. For a long time, many people have done meticulous research on individual vocal music works or documents in ancient times. Especially in combination with the ancient Chinese musical aesthetics, the author wants to make a comprehensive aesthetic comparative study of the ancient vocal music literature in this article. It helps us to better understand and absorb the ancients' views on vocal music and play a more guiding role in the teaching and performance of vocal music in the future. This paper is divided into five chapters: The first chapter mainly discusses the historical process and basic characteristics of the history of Chinese ancient music aesthetics. This part mainly discusses from three aspects: the historical process of Chinese ancient traditional culture, the historical process of the development of Chinese ancient Confucianism and Taoism aesthetics, and the basic characteristics of the history of ancient Chinese music aesthetics. The second chapter introduces the characteristics and characters of the development of ancient vocal music from the perspective of the development of vocal music. Due to the change and development of ancient Chinese society and history, the vocal music styles of each period are different, and some famous vocal singers appear. This part discusses three main characteristics of the development of ancient vocal music in different periods. The third chapter mainly analyzes the history and culture of ancient Chinese traditional singing theory. This part discusses the social background of Chinese traditional singing theory and the cultural background of ancient Chinese traditional singing theory. The fourth chapter makes a comparative study on the Noumenon of the literature under the background of the history of ancient Chinese music aesthetics. This part mainly discusses four kinds of relations: the relationship between emotion and sound, the relationship between sound and words, the relationship between emotion and qi, and the relationship between qi and sound. Finally, the relationship between these four concepts is analyzed dialectically. The fifth chapter makes a comparative analysis on the basic concepts and cultural background of Chinese traditional singing theory and modern national vocal music theory. The ancient Chinese society was in the state of feudal society for a long time, with agricultural culture as the basic characteristic, so some views about the traditional singing theory were somewhat conservative and narrow at that time. With the progress of the times, the social formation has changed, the modern Chinese social culture has the characteristics of pluralistic development, and the modern national vocal music theory is more scientific and open. Finally, the conclusion part, this part calls on vocal music workers to do more comprehensive and meticulous research on the ancient Chinese traditional singing theory, in order to better explore and utilize the valuable cultural property of our country, and to provide richer experience guidance for the teaching and performance in the future.
【学位授予单位】：江西师范大学
【学位级别】：硕士
【学位授予年份】：2008
【分类号】：J616

【引证文献】