尚德义花腔艺术歌曲的创作及演唱分析

发布时间：2018-04-20 00:09

本文选题：尚德义 + 花腔艺术歌曲　；参考：《河南大学》2007年硕士论文

【摘要】： 本文以尚德义的花腔艺术歌曲为研究对象,从声乐史学、民族音乐学、审美学的视角进行多角度、全方位地立体思考,分析其花腔艺术歌曲的美学特征和创作风格,并结合具体的作品演唱,阐明在遵循中国传统审美心理的前提下,借鉴西洋花腔技法和中国传统民歌中存在的花腔技法,结合民族声乐所追求的丰富的音色,协调统一的语言和细腻的润腔来表现作品,以期建立中国的花腔艺术理论体系。本文主要由三个部分组成: 第一章,作曲家的创作生涯。尚德义少年时代在兰州的成长历程,为他今后的创作积淀了深厚的民族音乐基础;青年时期在北京师范大学的专业作曲训练,是他花腔艺术歌曲创作的技术源泉;在教学和实践中,尚德义经过不断的探索,最终选择了花腔艺术歌曲的创作,大量的优秀作品,不仅填补了我国花腔创作领域的空白,而且对我国的民族声乐发展也起到了推进作用。第二章,尚德义花腔艺术歌曲作品的创作。从两方面来体现:(一)从作曲理论的角度,分析其作品的旋律、节奏、和声、手法,特别是对作品中花腔部分艺术性的深入研究,挖掘了他创作的个性特征,即:现实主义创作道路、鲜明的民族风格和高度的艺术追求。(二)纵观整个作品透露的气质,总结了他旋律优美,感情真挚,雅俗共赏的美学特征。第三章,尚德义花腔艺术歌曲的演唱。主要阐明了两个论点,即:在尊重中国人审美心理的前提下,在技法上,向西洋的花腔技法学习,向中国民族音乐学习;在民族风格的把握上,着重从音色、语言和润腔三方面下功夫。文章在论述“灵活运用科学的花腔技法”这一节中,主要的切入点是倚音、颤音、跳音和快速音阶、琶音。并比较了中西花腔技法的异同,重在结合不同风格的作品,灵活运用西洋花腔技法和我国传统音乐中已有的花腔技法因素。在“体现鲜明的民族风格”这一节中,结合具体的作品,分析演唱时怎样从音色、语言、润腔三方面入手表现作品的民族风格。第二章,第三章是本文的重点章节。文章得出的主要结论是:尚德义在发展我国民族声乐方面的贡献是重大的。的创作实践为我们展示了一个成功的范例:扎根于中国民族音乐这片沃土中,并汲取世界先进文化的优秀成果,热爱生活,讴歌生活,才能创作出“真”、“善”、“美”的艺术作品。他的花腔艺术歌曲在我国的声乐创作领域具有启示性的意义。演唱尚德义的花腔艺术作品,必须具有科学的花腔技法,而且要有鲜明的民族风格,所以,我们首先应该确立符合中国审美心理习惯的美学原则,在技法上采取兼容的态度,向西欧美声学派学习,向传统音乐学习;而且要在民族的语言、韵味上下功夫。花腔艺术歌曲的演唱作为民族声乐的一部分,也必然走多元化的道路,我们必须保持冷静的头脑,处理好技术与艺术之间的关系,继承与创新之间的矛盾,把握“中西结合”的尺度,找到各种矛盾双方的契合点,发展中国民族声乐。
[Abstract]:This article takes Shang Deyi's flower art song as the research object. From the perspective of vocal history, ethnomusicology and aesthetical, this paper makes a comprehensive and stereoscopic thinking, analyzes the aesthetic characteristics and creative style of the art songs of its flower cavity, and combines with the specific works of singing, and expounds the reference to the western world on the premise of following the Chinese traditional aesthetic psychology. The art of flower cavity and the traditional Chinese folk songs in the traditional folk songs, combined with the rich tones pursued by the national vocal music, harmonized the unified language and fine moistening cavity to show the works, in order to establish the theory system of Chinese cavities art.
This article is mainly composed of three parts:
The first chapter, the composer's creative career, the growing course of the youth of Shang Deyi in Lanzhou, accumulated a profound national music foundation for his future creation, and the professional composing training at Beijing Normal University is the technical source of his artistic song creation. In the course of teaching and practice, Shang Deyi has gone through continuous exploration and finally The selection of the creation of the art songs of the flower cavity and a large number of excellent works not only fill the blanks in the field of the creation of our country, but also promote the development of national vocal music in our country.
The second chapter, the creation of the art song of Shang Deyi, reflects from two aspects: (1) analyzing the melody, rhythm, harmony and technique of his works from the angle of composing theory, especially the deep study of the artistic character of the flower cavity in his works, and excavate the characteristics of his creation, that is, the road of realism, the distinctive national style and the high (two) looking at the temperament revealed by the whole work, he summed up the aesthetic features of his melodic beauty, sincere feelings and refined tastes.
The third chapter, the singing of Shang De Yi art song, mainly clarifies two arguments, that is, on the premise of respecting the Chinese aesthetic psychology, learning from the western style, learning from the western style, learning from the Chinese national music, and focusing on the three aspects of the tone color, the language and the moistening cavity in the national style. In this section, the main point of this section is to rely on the sound, the vibrato, the jump and the rapid scale, the ARP, and compare the similarities and differences between the Chinese and western flower chamber techniques, the emphasis on the combination of different styles of works, the flexible use of western flower cavity techniques and the existing flower chamber techniques in our traditional music. In the first section, combined with specific works, it analyzes how to express the national style of the work from three aspects: timbre, language and moistening.
The second chapter and the third chapter are the key chapters of this article.
The main conclusion is that the contribution of Shang Deyi in the development of Chinese national vocal music is significant. The creative practice shows us a successful example: taking root in the fertile soil of Chinese national music, absorbing the outstanding achievements of the world's advanced culture, loving life and eulogize life, can we create "true", "good", The artistic works of "beauty". His flower art song has an enlightening significance in the field of Chinese vocal music creation. Singing Shang Deyi's artistic works must have a scientific flower technique and have a distinct national style. Therefore, we should first establish the aesthetic principles that conform to the Chinese aesthetic psychological habits, and in the techniques of art. We should take a compatible attitude, learn from the school of Western European beauty, learn from traditional music, and work hard in the language and charm of the nation. As part of the national vocal music, the singing of the art song is bound to take a diversified path. We must keep a calm mind, deal with the relationship between technology and art, and inherit and innovate. The contradiction between them is to grasp the yardstick of "combination of Chinese and Western", to find the meeting points of various contradictions, and to develop the Chinese national vocal music.

【学位授予单位】：河南大学
【学位级别】：硕士
【学位授予年份】：2007
【分类号】：J616

【引证文献】