菏泽地区民歌曲调与演唱风格研究
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摘要
本文以菏泽地区民歌为研究对象,首先介绍了影响菏泽民歌形成的历史、民俗、戏曲、语言等环境因素;其次以旋律、调式、曲式、衬词、节奏等音乐要素作为切入点,对菏泽民歌曲调风格的形成进行了分析研究;通过对菏泽民歌演唱时采用的各种润腔技巧的研究,归纳出菏泽民歌在演唱风格中所体现出的地方特色。最后从具体传承下来的菏泽民歌中总结出带有规律性的艺术经验,以期能对菏泽民歌的传承有所帮助,对中国民歌演唱艺术整体发展有所裨益。除引言和结语外,全文共分为四大部分,重点是第二、三章节。
第一章:菏泽地区民歌产生的社会背景。一个地方民歌的产生是由复杂的多方面因素经过长期发展而形成的。本文主要从四个主要背景来分析说明,即历史地理背景、民俗背景、戏曲背景、语言背景等四个方面,这些因素影响着菏泽民歌的风格、内容、社会功效和旋律的形成。其中民俗中如打夯习俗就形成了现存数量最多,以打夯为主的劳动号子题材,庙会习俗中有传承下来的流传千年的担经艺术表演,《包楞调》即取自其中。菏泽花鼓题材民歌与戏曲联系紧密,具有浓郁的鲁西南特色。菏泽方言通过节奏、旋律、衬词与菏泽民歌紧紧结合在一起,影响着菏泽民歌的风格特点。
第二章:菏泽民歌的曲调风格分析。通过对形成曲调风格各音乐要素包括旋律音程、调式、曲式、节奏、衬词等的分析,来探讨菏泽地区的民歌风格:1、旋律带有明显的菏泽地方口音,有着鲜明的菏泽语音特点,2、调式上以五声、六声变宫调式为主, 3、曲式是由单段体曲式结构及其各种变形、和花鼓的多段联曲构成。4、节奏速度多为中速,紧凑律动,常以均分的八分音符为主,5、菏泽民歌的衬词有很多种,劳动号子为了协调生产,鼓舞志气,多以衬词来领夯,菏泽儿歌结构短小、叙事性强、少衬词。6、种类上以劳动号子、儿歌为多见,语言风格上爽快直白。
第三章:菏泽民歌的演唱技法。论文从发声和润腔两个方面去分析菏泽民歌演唱风格,发声方面主要体现在真假声的运用和咬字与吐字上,润腔方面主要体现在演唱时装饰音的使用上。菏泽民歌唱法上基本都采用自然嗓,这种唱法吐字清晰,菏泽在高音区的演唱运用的主要是假声。由于菏泽语言四声的不同,在润腔技巧上形成了具有菏泽语调特点的装饰音演唱方法,包括滑音、倚音、擞音、波音等装饰音技巧演唱。
第四章:加入现代音乐元素的菏泽新民歌。通过对传承下来的两首代表性歌曲的分析,寻找传承因素,以期对其他民歌的广泛传承有所帮助。主要原因是:他们跟随时代发展,具有强烈的时代气息,并用当下最流行的唱法演唱,更新了演唱艺术的声音概念和演唱技巧,不断演变走向成熟。
Heze in this paper to study folk music, first of all, the impact on the history of Heze folk songs, folk, opera, language and other environmental factors; followed by the melody, mode, Form, lining word starting four elements of music, folk songs of Heze tunes style formation has been analyzed through the use of a folk song concert Heze the various skills Run cavity research into folk songs from Heze in the vocal style embodied in the form of the performance of local characteristics and practices. Finally specific inherited from the folk songs in Heze summed up with the regularity of the arts experience, with a view to the heritage of folk songs Heze help of the Chinese folk song concert benefit the overall development of the arts. In addition to the introduction and conclusion, the text is divided into four parts, with a focus on the second and third chapters.
Chapter 1: Heze in the social background of folk songs. The formation of a local folk songs by the complex variety of factors and the formation of long-term development. This paper mainly from the four main background analysis shows that, the historical and geographical background that folk background, opera background, language backgrounds, four of these factors affect the Heze folk style, content, social effectiveness and the formation of melody. One of the folk customs such as the Daben created the largest number of existing, mainly to the Daben of labor, material, the customs temple in memory of years down the spread of the performing arts Tam, "Bao Leng stressed" that is taken from them. Heze Drum folk songs and opera themes are closely connected with a touch of flavour characteristics of the Southwest. Heze dialect through the rhythm, melody, words and Heze folk lining closely together, affecting the characteristics of Heze folk style.
Chapter 2: Heze style of folk tunes. Through the formation of the music style tunes, including elements of melody interval, mode, Form, rhythm, and lines such as word analysis, to explore Heze in the folk style: 1, with a clear melody of the Heze local accent, has a distinctive voice characteristics of Heze, 2, with five-on-sound, sound changed Palace for the six-oriented, 3, Form by the single paragraph of the structure and its Form Deformation , And the Drum sections of a song. 4, multi-speed rhythm for the medium-speed, compact rhythm, often sharing Bafenyinfu mainly, 5, the lining of Heze folk music there are many words, of labor, in order to coordinate production, encouraged by the ambitious, multi-lining to receive word Ram, Heze structure of children's songs short, narrative-less lining the word. 6, on the types of child labor, children's songs for the Most of language style readily straightforward.
Chapter 3: Heze folk singing techniques. Papers from the audible and-run chamber of Heze to two aspects of folk style of singing, vocal aspects reflected in the real sound and the use of Articulation and Enunciation, Run mainly reflected in the chamber concert at the decoration on the use of the sound.
Chapter 4: After transmission of the new folk songs have been handed down. Inherited by the two songs representative of the analysis, finding heritage, with a view to a wide range of other folk heritage help.
第一章:菏泽地区民歌产生的社会背景。一个地方民歌的产生是由复杂的多方面因素经过长期发展而形成的。本文主要从四个主要背景来分析说明,即历史地理背景、民俗背景、戏曲背景、语言背景等四个方面,这些因素影响着菏泽民歌的风格、内容、社会功效和旋律的形成。其中民俗中如打夯习俗就形成了现存数量最多,以打夯为主的劳动号子题材,庙会习俗中有传承下来的流传千年的担经艺术表演,《包楞调》即取自其中。菏泽花鼓题材民歌与戏曲联系紧密,具有浓郁的鲁西南特色。菏泽方言通过节奏、旋律、衬词与菏泽民歌紧紧结合在一起,影响着菏泽民歌的风格特点。
第二章:菏泽民歌的曲调风格分析。通过对形成曲调风格各音乐要素包括旋律音程、调式、曲式、节奏、衬词等的分析,来探讨菏泽地区的民歌风格:1、旋律带有明显的菏泽地方口音,有着鲜明的菏泽语音特点,2、调式上以五声、六声变宫调式为主, 3、曲式是由单段体曲式结构及其各种变形、和花鼓的多段联曲构成。4、节奏速度多为中速,紧凑律动,常以均分的八分音符为主,5、菏泽民歌的衬词有很多种,劳动号子为了协调生产,鼓舞志气,多以衬词来领夯,菏泽儿歌结构短小、叙事性强、少衬词。6、种类上以劳动号子、儿歌为多见,语言风格上爽快直白。
第三章:菏泽民歌的演唱技法。论文从发声和润腔两个方面去分析菏泽民歌演唱风格,发声方面主要体现在真假声的运用和咬字与吐字上,润腔方面主要体现在演唱时装饰音的使用上。菏泽民歌唱法上基本都采用自然嗓,这种唱法吐字清晰,菏泽在高音区的演唱运用的主要是假声。由于菏泽语言四声的不同,在润腔技巧上形成了具有菏泽语调特点的装饰音演唱方法,包括滑音、倚音、擞音、波音等装饰音技巧演唱。
第四章:加入现代音乐元素的菏泽新民歌。通过对传承下来的两首代表性歌曲的分析,寻找传承因素,以期对其他民歌的广泛传承有所帮助。主要原因是:他们跟随时代发展,具有强烈的时代气息,并用当下最流行的唱法演唱,更新了演唱艺术的声音概念和演唱技巧,不断演变走向成熟。
Heze in this paper to study folk music, first of all, the impact on the history of Heze folk songs, folk, opera, language and other environmental factors; followed by the melody, mode, Form, lining word starting four elements of music, folk songs of Heze tunes style formation has been analyzed through the use of a folk song concert Heze the various skills Run cavity research into folk songs from Heze in the vocal style embodied in the form of the performance of local characteristics and practices. Finally specific inherited from the folk songs in Heze summed up with the regularity of the arts experience, with a view to the heritage of folk songs Heze help of the Chinese folk song concert benefit the overall development of the arts. In addition to the introduction and conclusion, the text is divided into four parts, with a focus on the second and third chapters.
Chapter 1: Heze in the social background of folk songs. The formation of a local folk songs by the complex variety of factors and the formation of long-term development. This paper mainly from the four main background analysis shows that, the historical and geographical background that folk background, opera background, language backgrounds, four of these factors affect the Heze folk style, content, social effectiveness and the formation of melody. One of the folk customs such as the Daben created the largest number of existing, mainly to the Daben of labor, material, the customs temple in memory of years down the spread of the performing arts Tam, "Bao Leng stressed" that is taken from them. Heze Drum folk songs and opera themes are closely connected with a touch of flavour characteristics of the Southwest. Heze dialect through the rhythm, melody, words and Heze folk lining closely together, affecting the characteristics of Heze folk style.
Chapter 2: Heze style of folk tunes. Through the formation of the music style tunes, including elements of melody interval, mode, Form, rhythm, and lines such as word analysis, to explore Heze in the folk style: 1, with a clear melody of the Heze local accent, has a distinctive voice characteristics of Heze, 2, with five-on-sound, sound changed Palace for the six-oriented, 3, Form by the single paragraph of the structure and its Form Deformation , And the Drum sections of a song. 4, multi-speed rhythm for the medium-speed, compact rhythm, often sharing Bafenyinfu mainly, 5, the lining of Heze folk music there are many words, of labor, in order to coordinate production, encouraged by the ambitious, multi-lining to receive word Ram, Heze structure of children's songs short, narrative-less lining the word. 6, on the types of child labor, children's songs for the Most of language style readily straightforward.
Chapter 3: Heze folk singing techniques. Papers from the audible and-run chamber of Heze to two aspects of folk style of singing, vocal aspects reflected in the real sound and the use of Articulation and Enunciation, Run mainly reflected in the chamber concert at the decoration on the use of the sound.
Chapter 4: After transmission of the new folk songs have been handed down. Inherited by the two songs representative of the analysis, finding heritage, with a view to a wide range of other folk heritage help.
引文
[1] 《 菏 泽 地 区 志 》 , 菏 泽 地 区 志 编 纂 委 员 会 , 1990 年 10月
[2]《山东省省情资料库风俗库》
[3]《戏剧背景》部分根据《菏泽地区文化艺术志》第三篇《戏剧》整理改编,菏泽地区文化艺术志编纂委员会,1991 年 10 月,
[4]《菏泽地区文化艺术志》,菏泽地区文化艺术志编纂委员会,1991 年 10月
[5]《山东方言简介》,引自中国方言网
[6]《中国民歌集成-山东卷》,《中国民歌集成-山东卷》编辑委员会,中国 ISBN 中心 1997 年出版,2000 年 3 月
[7] 王誉生《论音阶及宫调体系_续》,天津音乐学院学报,1996 年 04 期
[8] 徐文、冯雁《音乐节奏的结构及其表现意义》,云南艺术学院学报, 2004年 02 期
[9] 詹桥玲《民族声乐的润腔美》,黄钟(武汉音乐学院学报)2000 年第 1期
[10] 魏占河:《山东民歌演唱漫议》.《中国音乐学》,2004 年第 4 期。
[11] 杨仲华 尤志国《中国气派 民族神韵 百姓欢迎———论金铁霖民族声乐学派的确立》,中国音乐(季刊)2005 年第 1 期
[12] 李秀华《新民歌的形成及演唱风格》,《科教文汇》2006.11
[13] 苗晶、金西《山东民间歌曲论述》,山东人民出版社,1983 年 2 月版
[14] 李晋维、李晋缓整理,沈湘著:《沈湘声乐教学艺术》,上海音乐出版社
[15] 吴祖强《曲式与作品分析》,人民音乐出版社,1962 年 11 月
[16] 山东省群众艺术馆编:《山东民间歌曲选集》,1962 年。
[17] 杨瑞庆:《中国风格旋律写作》人民音乐出版,2002 年。
[18] 周青青著:《中国民歌》,人民音乐出版社,1993 年。
[19] 洛地著《词乐曲唱》,人民音乐出版社 1995 年。
[20] 汪毓和《关于中国艺术歌曲的演唱问题》,《人民音乐》2000年第10期。
[2]《山东省省情资料库风俗库》
[3]《戏剧背景》部分根据《菏泽地区文化艺术志》第三篇《戏剧》整理改编,菏泽地区文化艺术志编纂委员会,1991 年 10 月,
[4]《菏泽地区文化艺术志》,菏泽地区文化艺术志编纂委员会,1991 年 10月
[5]《山东方言简介》,引自中国方言网
[6]《中国民歌集成-山东卷》,《中国民歌集成-山东卷》编辑委员会,中国 ISBN 中心 1997 年出版,2000 年 3 月
[7] 王誉生《论音阶及宫调体系_续》,天津音乐学院学报,1996 年 04 期
[8] 徐文、冯雁《音乐节奏的结构及其表现意义》,云南艺术学院学报, 2004年 02 期
[9] 詹桥玲《民族声乐的润腔美》,黄钟(武汉音乐学院学报)2000 年第 1期
[10] 魏占河:《山东民歌演唱漫议》.《中国音乐学》,2004 年第 4 期。
[11] 杨仲华 尤志国《中国气派 民族神韵 百姓欢迎———论金铁霖民族声乐学派的确立》,中国音乐(季刊)2005 年第 1 期
[12] 李秀华《新民歌的形成及演唱风格》,《科教文汇》2006.11
[13] 苗晶、金西《山东民间歌曲论述》,山东人民出版社,1983 年 2 月版
[14] 李晋维、李晋缓整理,沈湘著:《沈湘声乐教学艺术》,上海音乐出版社
[15] 吴祖强《曲式与作品分析》,人民音乐出版社,1962 年 11 月
[16] 山东省群众艺术馆编:《山东民间歌曲选集》,1962 年。
[17] 杨瑞庆:《中国风格旋律写作》人民音乐出版,2002 年。
[18] 周青青著:《中国民歌》,人民音乐出版社,1993 年。
[19] 洛地著《词乐曲唱》,人民音乐出版社 1995 年。
[20] 汪毓和《关于中国艺术歌曲的演唱问题》,《人民音乐》2000年第10期。