本文關(guān)鍵詞：南北朝樂府民歌曲辭音樂性研究　出處：《湖南師范大學(xué)》2014年碩士論文　論文類型：學(xué)位論文

  更多相關(guān)文章： 南北朝 樂府民歌 曲辭 音樂性 文學(xué)意義 歷史意義

【摘要】：南北朝樂府民歌是繼周民歌和漢樂府民歌之后以比較集中的方式出現(xiàn)的又一批人民口頭創(chuàng)作,是我國詩歌史上又一新的發(fā)展。它不僅反映了新的社會現(xiàn)實,而且創(chuàng)造了新的藝術(shù)形式和風格。對南北朝樂府民歌音樂性的研究從一定程度上可以將當時無序的文學(xué)自覺性創(chuàng)作予以歸納和總結(jié)。南朝和北朝樂府民歌雖是同一時代的產(chǎn)物,但由于南北的長期對峙,北朝又受鮮卑貴族的統(tǒng)治,政治、經(jīng)濟、文化以及民族風尚、自然環(huán)境等大都不相同,因而南北朝樂府民歌也呈現(xiàn)出不同的色彩和情調(diào)。 民歌曲辭文化具有的雙重性與學(xué)科交叉性、音樂實踐形態(tài)的多元性,是學(xué)術(shù)界從音樂文化背景研究樂府歌辭的重要依據(jù)。在以往的研究中,從音樂視角介入的研究者往往缺少對“歌辭”詩歌史意義的關(guān)注,反之,從文學(xué)視角介入的研究者則缺少對“歌辭”文學(xué)特性形成的音樂基礎(chǔ)的關(guān)注。有鑒于此,本文努力在音樂背景與歌辭文學(xué)形態(tài)演進之間尋找二者內(nèi)在的聯(lián)系,將南北朝“歌辭”置于當時音樂文化建構(gòu)和具體音樂活動中進行審視和描述,從而認識“歌辭”豐富而復(fù)雜的多重意義,闡釋由此引出的歌辭文學(xué)與文學(xué)史的若干問題。 本論文以上述觀點為邏輯思路進行撰寫,全文共分為三章。 引言部分為研究綜述,包括與選題相關(guān)的、很貼近的學(xué)術(shù)研究的歷史、現(xiàn)狀述評,總結(jié)前人對南北朝樂府詩歌音樂性研究的成果,以及選題的意義、研究內(nèi)容、研究思路和方法。 第一章從語音系統(tǒng)分析樂府民歌的音樂性,即樂府詩歌聲調(diào)與歌辭曲調(diào)之間的關(guān)系,提出后一章具體詩歌音樂分析的理論基礎(chǔ),對后文的譯譜做一個簡要的說明。 第二章運用前一章所述分析方法,引具體南北朝民歌曲辭實例逐句分析其音樂性的特點,包括南朝民歌當中西曲歌和吳聲歌曲的富麗婉轉(zhuǎn)、明快含蓄,神弦歌的曲風奇異、構(gòu)造繁復(fù)以及雜曲歌謠的自由結(jié)構(gòu)、曲調(diào)豐富；然后分析北朝民歌,主要是梁鼓角橫吹曲的音樂性,從五言、七言、雜言等不同體式入手分析北朝民歌沉穩(wěn)厚重、高亢悠揚的音樂性特征。 第三章分析南北朝樂府民歌音樂性特征的價值和意義,包括文學(xué)意義和史學(xué)意義,其中文學(xué)意義包括文學(xué)和美學(xué)層面,文學(xué)意義具體到由“歌”到“詩”的轉(zhuǎn)變,促進文人樂府與民歌融合,對后世音樂文學(xué)的啟發(fā)；美學(xué)意義具體到對南北朝的時代審美感受影響；史學(xué)意義包括樂制史、文化史、倫理史三個層面,樂制史意義從改變了專屬機構(gòu)設(shè)置、促進樂律規(guī)范化角度分析,文化史意義重點從民歌地位轉(zhuǎn)變、有利于南北文化交流和胡漢民族融合角度分析,倫理史意義從與傳統(tǒng)樂教的對立和統(tǒng)一,以及構(gòu)建天人合一的南北朝音樂倫理觀念兩個角度進行分析。
[Abstract]:The northern and Southern Dynasties Yuefu folk songs is also a group of people after a week of oral creation of folk songs and folk songs in Han Dynasty in more concentrated way, is a new development of Chinese poetry history. It not only reflects the new social reality, but also created a new art form and style of folk songs of music. The northern and Southern Dynasties to some extent from the literary consciousness of creation can be disorderly to summarize. The Southern Dynasties and the Northern Dynasties folk songs is the product of the same age, but due to the long confrontation between the north and south of the Northern Dynasties, but also by the Xianbei aristocracy, the political, economic, cultural and ethnic customs, natural environment and so on are not the same therefore, the northern and Southern Dynasties Yuefu folk songs also show different color and flavor.
The duality and the discipline of folk songs by culture has the diversity of forms of musical practice, is an important basis for academic research from the background of folk music culture of song. In previous studies, researchers from the perspective of music intervention often lack of lyric poetry history significance concern, on the other hand, the researchers involved in the view of literature is the lack of music based on the formation of "Song Ci" literary characteristics of attention. In view of this, this paper try to find the two intrinsic relation between music background and song literary development, the southern and Northern Dynasties "Song Ci" in the music culture and music activities and examine specific description, to find the multiple meanings of "songs rich and complex, which leads to the problems of interpretation of song literature and literary history.
This thesis is written on the basis of the above point of view, and the full text is divided into three chapters.
The introduction part is the summary of the research, including the history and current situation of the close academic research related to the topic selection, summarizing the predecessors' achievements in the music research of Yuefu Poetry in the northern and Southern Dynasties, and the significance of the topic selection, research contents, research ideas and methods.
In the first chapter, we analyze the relationship between Yuefu folk music and Yuefu Poetry's tone and song's tune, and put forward the theoretical basis of the latter chapter's specific music analysis.
The second chapter uses the previous chapter analysis method, analyze the characteristics of the leading music songs or specific examples from the northern and Southern Dynasties, including the folk songs among West Song song and Wu songs rich and subtle, tactfully, Shenxian songs sound strange, complex and zaqu ballad structure free structure, and rich in melody; the analysis of folk songs, mainly music, the melody of Liang Dynasty from five, seven words, mixed words of different style of folk songs of the Northern Dynasty steady heavy, high pitched melodious music characteristic.
The third chapter analyzes the value and significance of Yuefu folk music characteristic of the northern and Southern Dynasties, including the literary significance and historical significance, the literature significance including literature and aesthetics, literary meaning by specific to the "song" to "poetry" change, and promote the integration of the scholar Yuefu folk songs, inspired after world music literature; aesthetic significance to the northern and Southern Dynasties era aesthetic effect; historical significance including music history, cultural history, three aspects of ethical history, history of music system changed the meaning from the exclusive institution, promote the standardization of music analysis angle, meaning of cultural history focuses on folk position change, facilitates the analysis of cultural exchanges between North and South and Hu Han ethnic fusion view of ethical significance of history from the opposition and unity and traditional music education, and the construction of harmony between man and nature of the northern and Southern Dynasties music ethics two aspects were analyzed.

【學(xué)位授予單位】：湖南師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2014
【分類號】：I207.22

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本文編號：1404585