内蒙古漫瀚调民歌的演唱艺术特色研究
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摘要
漫瀚调民歌是内蒙古西部的一种民间歌种。据史料记载,它发祥于历史上的伊克昭盟(今鄂尔多斯境内)准格尔旗,是清代山西河曲、府谷县为首的汉族农民走西口到内蒙古一带谋生而发展出来的民间歌种。据传从秦汉时期开始,汉族移民到内蒙古一带垦荒谋生,到16世纪中叶逐渐增多,明末清初这种移民现象更加如火如荼地发展起来。由于汉族移民的到来,内蒙古河套(指鄂尔多斯、巴彦淖尔等)地区蒙汉杂居的局面逐渐形成,从而促使了当地的政治、经济、文化的繁荣和发展。在政治上内蒙古逐渐形成蒙汉俩族共同管理,在经济上形成了农耕与牧业并存的局面。在促进政治、经济等发展的同时,汉族移民带来的家乡文化艺术(以山西、陕北、河北为主)也促进了当地音乐文化的发展。漫瀚调民歌就是上述地区移民们带来的汉族音乐文化与内蒙古鄂尔多斯音乐文化融合而产生的一种民歌。
漫瀚调民歌以鄂尔多斯短调为基础,加入了晋、陕、冀等汉族民歌的歌词韵律,它的唱腔结合了晋、陕、冀等地区的山曲儿、信天游等演唱特点。在演唱时有时是汉语歌词,有时是蒙汉语结合,形成了独具一格的民歌特色,这种形式又被称为“风搅雪”。近年来,从历史、社会、人文等角度对漫瀚调民歌进行研究的较多。然而,对于漫瀚调独特的演唱艺术特色,目前的研究还很少。
本文通过文献收集与整理、代表曲目分析、代表人物采访和实地考察,对漫瀚调民歌的历史背景、称谓、音乐内涵等方面进行了概述,对漫瀚调民歌的演唱艺术特色开展研究,着重从漫瀚调民歌的音乐特色、演唱特色两个方而进行论述。在漫瀚调民歌的音乐特色方面(包括曲调、旋律、曲式调式、节拍节奏等),本文以歌曲作品为例,分析其所包含的音乐元素,总结其存在的特点和特色；在漫瀚调民歌的演唱艺术特色方面,本文着重论述了其语言和唱腔(包括咬字、发音、气息、共鸣)等方面的特色,并分析了男腔、女腔唱腔的相同点和不同点,从而对漫瀚调民歌独特的演唱艺术特色进行解析。此外,本文对蒙汉两个民族在音乐和文化两个方面的融合进行了研究,分析了蒙汉音乐、文化融合对漫瀚调民歌演唱艺术特色的影响。
Manhandiao is one kind of folk song which is widely spread in the west of Inner Mongolia. It is originated at Zhungeer county, Ordos in Qing dynasty. At that time, many Han nationality people migrate from Hequ county and Fugu county to Inner Mongolia, which is called "Going to West Gate" and is one of three most famous immigration flow in Chinese history. According to the legend, since Qin and Han dynasties, Han nationality people began their migration. This phenomenon became obvious during16th century and the flood tide appeared at the late Ming and early Qing dynasty. With the coming of migration people, the Han nationality people and the Mongol nationality people were living together gradually. This promote the development of politics, economy and culture at HeTao area of Inner Mongolia (include Ordos, Bayannur, etc). These two ethnic people started to manage the local area together. At the same time, agriculture, culture and art of Han nationality are also introduced in by the migration people. The culture and art of the migration people (mainly from Shanxi, Shaanxi and Hebei provinces) is fused with the culture and art at Ordos area in Inner Mongolia, which promotes the appearance of the new folk song, Manhandiao.
Manhandiao takes Ordos short melody as the basis, and is added in lyrics and rhythms of Chinese folk music in Shanxi province and Shaanxi province. Besides, its aria takes the singing features of folk rhyme and Xin Tian You in Shanxi, Shaanxi and Hebei provinces. The lyric of Manhandiao may be in Chinese or the combination of Chinese and Mongolian, this unique character is called "a snowstorm is raging". In recent years, many researches on Manhandiao are done from the view of history, society or human, respectively. However, there is few research result about the singing characters of Manhandiao.
This thesis introduces the history and title background of Manhandiao folk songs, and researches on its music and singing characters through literature review, representative songs analysis, representative singer interview and on-the-spot investigation. As to the music characters, the music tone, melody, form, mode and rhythm of Manhandiao folk songs will be analyzed to find out the its specific characters; as to the singing characters, the language and aria (such as articulation, pronunciation, breath and resonance) of Manhandiao folk songs will be researched, and the similarities and differences between male tune and female tune will be analyzed to display the specific characters of Manhandiao folk songs. In addition, this thesis investigates how the music and culture of Han and Mongolia are fused, and what is the effects it brings to the singing characters of Manhandiao folk songs.
漫瀚调民歌以鄂尔多斯短调为基础,加入了晋、陕、冀等汉族民歌的歌词韵律,它的唱腔结合了晋、陕、冀等地区的山曲儿、信天游等演唱特点。在演唱时有时是汉语歌词,有时是蒙汉语结合,形成了独具一格的民歌特色,这种形式又被称为“风搅雪”。近年来,从历史、社会、人文等角度对漫瀚调民歌进行研究的较多。然而,对于漫瀚调独特的演唱艺术特色,目前的研究还很少。
本文通过文献收集与整理、代表曲目分析、代表人物采访和实地考察,对漫瀚调民歌的历史背景、称谓、音乐内涵等方面进行了概述,对漫瀚调民歌的演唱艺术特色开展研究,着重从漫瀚调民歌的音乐特色、演唱特色两个方而进行论述。在漫瀚调民歌的音乐特色方面(包括曲调、旋律、曲式调式、节拍节奏等),本文以歌曲作品为例,分析其所包含的音乐元素,总结其存在的特点和特色；在漫瀚调民歌的演唱艺术特色方面,本文着重论述了其语言和唱腔(包括咬字、发音、气息、共鸣)等方面的特色,并分析了男腔、女腔唱腔的相同点和不同点,从而对漫瀚调民歌独特的演唱艺术特色进行解析。此外,本文对蒙汉两个民族在音乐和文化两个方面的融合进行了研究,分析了蒙汉音乐、文化融合对漫瀚调民歌演唱艺术特色的影响。
Manhandiao is one kind of folk song which is widely spread in the west of Inner Mongolia. It is originated at Zhungeer county, Ordos in Qing dynasty. At that time, many Han nationality people migrate from Hequ county and Fugu county to Inner Mongolia, which is called "Going to West Gate" and is one of three most famous immigration flow in Chinese history. According to the legend, since Qin and Han dynasties, Han nationality people began their migration. This phenomenon became obvious during16th century and the flood tide appeared at the late Ming and early Qing dynasty. With the coming of migration people, the Han nationality people and the Mongol nationality people were living together gradually. This promote the development of politics, economy and culture at HeTao area of Inner Mongolia (include Ordos, Bayannur, etc). These two ethnic people started to manage the local area together. At the same time, agriculture, culture and art of Han nationality are also introduced in by the migration people. The culture and art of the migration people (mainly from Shanxi, Shaanxi and Hebei provinces) is fused with the culture and art at Ordos area in Inner Mongolia, which promotes the appearance of the new folk song, Manhandiao.
Manhandiao takes Ordos short melody as the basis, and is added in lyrics and rhythms of Chinese folk music in Shanxi province and Shaanxi province. Besides, its aria takes the singing features of folk rhyme and Xin Tian You in Shanxi, Shaanxi and Hebei provinces. The lyric of Manhandiao may be in Chinese or the combination of Chinese and Mongolian, this unique character is called "a snowstorm is raging". In recent years, many researches on Manhandiao are done from the view of history, society or human, respectively. However, there is few research result about the singing characters of Manhandiao.
This thesis introduces the history and title background of Manhandiao folk songs, and researches on its music and singing characters through literature review, representative songs analysis, representative singer interview and on-the-spot investigation. As to the music characters, the music tone, melody, form, mode and rhythm of Manhandiao folk songs will be analyzed to find out the its specific characters; as to the singing characters, the language and aria (such as articulation, pronunciation, breath and resonance) of Manhandiao folk songs will be researched, and the similarities and differences between male tune and female tune will be analyzed to display the specific characters of Manhandiao folk songs. In addition, this thesis investigates how the music and culture of Han and Mongolia are fused, and what is the effects it brings to the singing characters of Manhandiao folk songs.
引文
[1]张占霖主编《鄂尔多斯文化》歌舞卷,社会科学院文献出版社2011年8月
[2]陶克涛著《内蒙古发展概述》,内蒙古人民出版社1957年4月出版
[3]邢野《中国二人台艺术通典》(4),内蒙古人民出版社2005年8月
[4]李克仁《走西口与漫瀚调》,内蒙古人民出版社2010年11月
[5]王世一、柳谦、张皇《漫瀚调》,人民音乐出版社1993年版
[6]内蒙古自治区文化局编《内蒙古西部区民间歌曲选》,内蒙古人民出版社1960年版
[7]《准格尔旗志》,内蒙古人民出版社1993年
[8]汤雪耕《谈歌唱的咬字、吐字和处理语言的方法》,(载于《怎样提高声乐演唱水平》2,华乐出版社2003年10月)
[9]李萍 《中国现代民族声乐论》,湖南师范大学出版社2006年8月第一版
[10]赵金虎《方言入声字与词、谱法》,(《内蒙古师范学报》)哲学社会科学版1978年第二期,
[11]史银堂《漫谈二人台中串话的运用及其特点》载于《中国二人台艺术通典》巳集》内蒙古人民出版社2005年8月
[12]许讲真《汉族民歌润腔概论》,人民音乐出版社2009年9月北京第一版
[13]傅雪漪, 《戏曲传统声乐艺术》人民音乐出版社1985年出版
[14]于会咏《腔词关系研究》,中央音乐学院出版社2008年5月版
[15]薛斌 《风从民间来》,山东画报出版社2009年10月版
[16]冯国栋《西部民歌地图》,同心出版社2007年1月
[17]仲立斌《京剧梅派唱腔艺术研究》,台南大学出版社2011年七月出版
[18]音乐普及与辅导系列丛书《怎样提高声乐演唱水平》2,华乐出版社2003年10月董维松的《论润腔》(载于2004年第四期《中国音乐》)
[19]孟新洋、柯琳《民族声乐理论教程》,中央民族大学出版社2009年4月
[20]马铁英《戏曲因素在漫瀚调演唱中的遗风之浅见》《戏曲艺术》2004年
[21]胡小满李林《关于保护我国原生态民歌的几点认识》,河北师范大学学报2006年3月
[22]《我做田野 故我存在》,中央民族大学出版社2009年6月第一版
[23]吕宏久《刘银威二人台唱腔集》,内蒙古人民出版社1985年出版
[24]陈秉荣、周少卿《走西口的习俗文化及其成因初探》,(载于《中国二人台艺术通典》(4),内蒙古人民出版社2005年8月)
[2]陶克涛著《内蒙古发展概述》,内蒙古人民出版社1957年4月出版
[3]邢野《中国二人台艺术通典》(4),内蒙古人民出版社2005年8月
[4]李克仁《走西口与漫瀚调》,内蒙古人民出版社2010年11月
[5]王世一、柳谦、张皇《漫瀚调》,人民音乐出版社1993年版
[6]内蒙古自治区文化局编《内蒙古西部区民间歌曲选》,内蒙古人民出版社1960年版
[7]《准格尔旗志》,内蒙古人民出版社1993年
[8]汤雪耕《谈歌唱的咬字、吐字和处理语言的方法》,(载于《怎样提高声乐演唱水平》2,华乐出版社2003年10月)
[9]李萍 《中国现代民族声乐论》,湖南师范大学出版社2006年8月第一版
[10]赵金虎《方言入声字与词、谱法》,(《内蒙古师范学报》)哲学社会科学版1978年第二期,
[11]史银堂《漫谈二人台中串话的运用及其特点》载于《中国二人台艺术通典》巳集》内蒙古人民出版社2005年8月
[12]许讲真《汉族民歌润腔概论》,人民音乐出版社2009年9月北京第一版
[13]傅雪漪, 《戏曲传统声乐艺术》人民音乐出版社1985年出版
[14]于会咏《腔词关系研究》,中央音乐学院出版社2008年5月版
[15]薛斌 《风从民间来》,山东画报出版社2009年10月版
[16]冯国栋《西部民歌地图》,同心出版社2007年1月
[17]仲立斌《京剧梅派唱腔艺术研究》,台南大学出版社2011年七月出版
[18]音乐普及与辅导系列丛书《怎样提高声乐演唱水平》2,华乐出版社2003年10月董维松的《论润腔》(载于2004年第四期《中国音乐》)
[19]孟新洋、柯琳《民族声乐理论教程》,中央民族大学出版社2009年4月
[20]马铁英《戏曲因素在漫瀚调演唱中的遗风之浅见》《戏曲艺术》2004年
[21]胡小满李林《关于保护我国原生态民歌的几点认识》,河北师范大学学报2006年3月
[22]《我做田野 故我存在》,中央民族大学出版社2009年6月第一版
[23]吕宏久《刘银威二人台唱腔集》,内蒙古人民出版社1985年出版
[24]陈秉荣、周少卿《走西口的习俗文化及其成因初探》,(载于《中国二人台艺术通典》(4),内蒙古人民出版社2005年8月)