京韵大鼓唱腔艺术研究

发布时间：2018-06-17 11:23

本文选题：京韵大鼓 + 历史发展　；参考：《河南师范大学》2011年硕士论文

【摘要】：京韵大鼓形成于清朝末年,流行于北京、天津两地,是我国北方著名的曲艺音乐艺术形式之一,素有“南弹北鼓”之说(弹指苏州弹词)。京韵大鼓历时百年,在全国的鼓曲中享有很高的地位。因为其使用北京语音为唱腔语言,以“说唱结合”的形式,以唱为主,夹京腔韵白,所表现内容都是群众喜闻乐见的历史故事,譬如《三国》或《红楼》选段,表演形式简单,所以受到广大群众的喜爱,被誉为“曲艺之冠”。但目前,随着市场经济的发展和电视、网络等媒体的传播,京韵大鼓在这一时代浪潮的冲击下,渐渐淡出人们的生活,成为我国“口头非物质文化遗产”。面对曾经极为受到群众喜爱的曲艺品种走向衰败这一问题,值得我们思考。本文以现有的文献资料,归纳总结,比较分析,从京韵大鼓的形成与发展过程,主要流派的唱腔特征与流派唱腔比较、我国民族声乐对京韵大鼓唱腔上的可借鉴性三方面来阐述京韵大鼓的历史发展和现实性问题,进而论证京韵大鼓唱腔的科学性和可借鉴性特点。本文主要内容有以下几个方面: (1)绪论。追溯京韵大鼓的历史渊源和发展形成的概况,从京韵大鼓的形成发展和兴盛时期再到建国后五六十年代的新生时期,以及近几年来的衰败,从不同时期论证了京韵大鼓的发展特点和唱腔特点,以及不同时期的代表人物和作品。 (2)对京韵大鼓唱腔艺术的基本特征进行分析。主要从四个方面入手:一是唱词特点;二是三大基本唱腔和三种派生唱腔特点;三是京韵大鼓的板式与唱腔运用;四是京韵大鼓的腔词关系。 (3)主要流派唱腔特征和流派唱腔比较。通过对不同流派代表人物嗓音特点,唱腔风格,代表作品的声腔设计特点,分析归纳总结出各流派唱腔的特点并比较各流派唱腔之间的相同点与不同点。 (4)我国民族声乐对京韵大鼓唱腔上的可借鉴性。本章属于本论文的创新之处,也是研究京韵大鼓唱腔的现实意义。本章主要从京韵大鼓在发声吐字、行腔归韵、唱腔语言的说唱性特点和其抒情性唱段的艺术处理几方面入手,寻找京韵大鼓唱腔和我国民族声乐演唱之间的契合点,从而论证京韵大鼓对我国民族声乐演唱及以后发展道路的有益之处,并希望我国的民族声乐能够从京韵大鼓等曲艺音乐中吸收精华,从民族传统文化中博采众长,把中国博大精深的民族文化在创新中发扬光大。
[Abstract]:Beijing rhyme Drum was formed in the late Qing Dynasty, popular in Beijing and Tianjin. It is one of the famous musical art forms of quyi in the north of China. Beijing rhyme Dagu lasted for a hundred years, in the country's drum music enjoy a high status. Because it uses Beijing pronunciation as the singing language, in the form of "rap and singing combination", mainly in singing, and in the rhyme of Beijing, the contents are all popular historical stories, such as the selected passages of "three Kingdoms" or "Honglou", in which the form of the performance is simple. So by the masses of love, known as the "quyi crown." But at present, with the development of market economy and the spread of TV, network and other media, the Jingyun Drum gradually fade out of people's life and become the "oral intangible cultural heritage" under the impact of the tide of this era. In the face of the decline of quyi varieties once loved by the masses, it is worth our consideration. Based on the existing literature, this paper summarizes, compares and analyzes the formation and development process of the Beijing rhyme drum, the characteristics of the main schools of singing and the comparison of the genre singing. This paper expounds the historical development and realistic problems of the Chinese national vocal music on the singing of Beijing Drum, and further demonstrates the scientific and referential characteristics of the singing of Beijing Dagu. The main contents of this paper are as follows: introduction. Tracing back to the historical origin and the general situation of the formation and formation of the Jingyun Dagu, from the formation and development of the Jingyun Dagu to the newborn period of the 1950s and 1960s after the founding of the people's Republic of China, as well as the decline of the last few years. This paper demonstrates the characteristics of the development and singing of Beijing Dagu in different periods, as well as the representative figures and works of different periods, and analyzes the basic characteristics of the singing art of Beijing Dagu. It mainly starts from four aspects: first, the characteristics of singing words; second, the characteristics of three basic singing and three kinds of derivative singing; Fourth, the relationship between the singing and ci of Beijing rhyme Dagu. 3) the comparison of the characteristics of the main schools of singing and the genre of singing. According to the characteristics of voice, singing style, and vocal design of the works of different genres, This paper analyzes and summarizes the characteristics of various schools of singing and compares the similarities and differences among them. 4) the reference of Chinese national vocal music to the singing of Beijing Drum. This chapter belongs to the innovation of this paper, and it is also the practical significance of studying Beijing rhyme drum singing. This chapter mainly starts from the aspects of singing and articulating in Beijing rhyme Drum, returning to rhyme in line, rap characteristics of singing language and the artistic treatment of its lyric singing segment, in order to find the point of convergence between the singing of Beijing Drum and the singing of Chinese national vocal music. Therefore, this paper demonstrates the advantages of the Jingyun Drum for the singing of Chinese national vocal music and its future development, and hopes that the national vocal music of our country can absorb the essence from the quyi music, such as the Jingyun Dagu, and learn from the traditional culture of the nation. Carry forward China's broad and profound national culture in innovation.
【学位授予单位】：河南师范大学
【学位级别】：硕士
【学位授予年份】：2011
【分类号】：J826

【参考文献】