【摘要】： 隨著《中國(guó)民歌集成》的編撰工作的啟動(dòng)，中國(guó)民歌研究步入了一個(gè)新階段。但從具有較高權(quán)威性、學(xué)術(shù)性的研究資料的狀況看，中國(guó)民歌研究對(duì)調(diào)式調(diào)性、節(jié)奏、曲式(句式結(jié)構(gòu))、唱法、體系、流派、和聲等領(lǐng)域關(guān)注得較多，而對(duì)作為音樂(lè)分析方法學(xué)之一的“動(dòng)機(jī)分析”領(lǐng)域從未涉入。 本文正是以音樂(lè)分析中創(chuàng)作技法分析為起點(diǎn)，對(duì)56首中國(guó)民歌(囊括五十六個(gè)民族)作了較為詳盡的動(dòng)機(jī)分析。旨在發(fā)掘中國(guó)民歌音樂(lè)材料性質(zhì)的內(nèi)在聯(lián)系及其有機(jī)結(jié)合，觀察這個(gè)過(guò)程中動(dòng)機(jī)與動(dòng)機(jī)的變體、變體與變體之間的派生關(guān)系及相互關(guān)系，從不同角度認(rèn)識(shí)中國(guó)民歌的結(jié)構(gòu)方式和變化過(guò)程，再現(xiàn)創(chuàng)作者富有邏輯性的心理結(jié)構(gòu)與作品結(jié)構(gòu)的統(tǒng)一。其中涉及到的有關(guān)理論——中國(guó)民歌的概念、中國(guó)民歌研究概況、中國(guó)民歌與其它中國(guó)民間音樂(lè)的關(guān)系、中國(guó)民歌的特質(zhì)、動(dòng)機(jī)分析方法、動(dòng)機(jī)的概念、動(dòng)機(jī)的運(yùn)用、動(dòng)機(jī)在中國(guó)民歌中音高和節(jié)奏方面的運(yùn)用——在上篇予以簡(jiǎn)要地論述；下篇在簡(jiǎn)短的緒論——關(guān)于譜例的選擇、分析角度的選擇、分析中字母標(biāo)識(shí)問(wèn)題——后，從音高動(dòng)機(jī)及其移位與無(wú)移位的變體、節(jié)奏動(dòng)機(jī)及其精確重復(fù)與變化重復(fù)的變體、音高與節(jié)奏結(jié)合的動(dòng)機(jī)及其motif模式與motif and cell模式的變體的幾個(gè)角度，，以一般圖示、圖式、圖表、文字等方式，對(duì)中國(guó)民歌作了分門別類的實(shí)例分析。 在對(duì)中國(guó)民歌的動(dòng)機(jī)分析過(guò)程中，無(wú)形地提出也解答了一些問(wèn)題，這些問(wèn)題最終歸結(jié)為一個(gè)“共性”問(wèn)題，包括東方音樂(lè)創(chuàng)作與西方音樂(lè)創(chuàng)作的共性以及藝術(shù)音樂(lè)創(chuàng)作與民間音樂(lè)創(chuàng)作的共性的結(jié)合。它蘊(yùn)涵在整個(gè)分析過(guò)程的每一個(gè)細(xì)節(jié)里，體現(xiàn)在音樂(lè)材料的組織、創(chuàng)作技法的應(yīng)用、分析角度的選擇、分析方法的運(yùn)用等方面，甚至包括分析方法本身。 衷心希望本文能夠使中國(guó)民歌的創(chuàng)作技法分析領(lǐng)域得到關(guān)注，從而為中國(guó)民歌研究盡一份微薄之力。更希望對(duì)人類音樂(lè)創(chuàng)作的“共性”問(wèn)題重新審視、思考。
[Abstract]:With the initiation of compilation of Chinese Folk songs, the study of Chinese Folk songs has entered a new stage. However, from the point of view of the highly authoritative and academic research materials, the study of Chinese folk songs has paid more attention to the fields of tone, rhythm, form (sentence structure), singing, system, school, harmony and so on. As one of the methods of music analysis, the field of motivation analysis has never been involved. Based on the analysis of creative techniques in music analysis, this paper makes a detailed motivation analysis of 56 Chinese folk songs (including 56 nationalities). The purpose of this paper is to explore the intrinsic relationship and organic combination of the nature of Chinese folk song music material, and to observe the variation of motivation and motivation, the derivative relationship between variation and their mutual relationship in this process. To understand the structure and changing process of Chinese folk songs from different angles, and to reproduce the unity of the author's logical psychological structure and the structure of his works. The related theories involved are the concept of Chinese folk song, the general situation of Chinese folk song research, the relationship between Chinese folk song and other Chinese folk music, the characteristics of Chinese folk song, the method of motivation analysis, the concept of motivation, and the application of motivation. The use of motivation in Chinese Folk songs in terms of pitch and Rhythm-briefly discussed in the first part; in the second part, after the brief introduction on the selection of spectral examples, the choice of analytical angles, the analysis of the problem of letter identification in Chinese folk songs, From the angles of pitch motivation and its variants of shift and no shift, rhythmic motivation and its exact repetition and variation repetition, pitch and rhythm combination motivation and the variations of motif pattern and motif and cell pattern, the general diagram and schema are used in this paper. In this paper, some examples of Chinese folk songs are analyzed in the form of charts, characters and so on. In the process of analyzing the motivation of Chinese folk songs, some questions are put forward and answered invisibly. These questions are finally reduced to a "common" problem. It includes the generality of oriental music creation and western music creation, and the combination of artistic music creation and folk music creation. It is embodied in every detail of the whole analysis process, including the organization of musical materials, the application of creative techniques, the selection of analytical angles, the application of analytical methods, and even the analytical methods themselves. I sincerely hope that this paper can make the field of Chinese folk song creative technique analysis get attention, so as to make a modest contribution to the study of Chinese folk song. More hope to human music creation, "commonality" problem re-examine, think.
【學(xué)位授予單位】：上海音樂(lè)學(xué)院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2003
【分類號(hào)】：J607

【引證文獻(xiàn)】

相關(guān)博士學(xué)位論文 前1條

1 韓艷玲;可能性構(gòu)造空間理論與計(jì)算機(jī)作曲思維模型研究[D];華中科技大學(xué);2010年

相關(guān)碩士學(xué)位論文 前1條

1 楊樹(shù)遠(yuǎn);土默特右旗地區(qū)山曲兒的形態(tài)研究[D];內(nèi)蒙古師范大學(xué);2011年

本文編號(hào)：2147266