【摘要】：本文分為上下兩篇，上篇由史詩(shī)概念入手，概括闡述了世界最長(zhǎng)的史詩(shī)《格薩爾》的基本內(nèi)容、產(chǎn)生背景和流傳過(guò)程等等方面。在上篇的后半部分，略著筆墨于《格薩爾》說(shuō)唱藝術(shù)基本風(fēng)格特征和說(shuō)唱藝人的特點(diǎn)。上篇的最后一個(gè)章節(jié)簡(jiǎn)要介紹了本文的研究對(duì)象——《辛丹內(nèi)訌》的情節(jié)內(nèi)容，它是流傳于甘南藏區(qū)的《格薩爾》說(shuō)唱之一。 在下篇中，首先詳細(xì)的介紹了筆者對(duì)《辛丹內(nèi)訌》音樂(lè)本體進(jìn)行研究的研究方法——波形分析法，之后以《辛丹內(nèi)訌》音樂(lè)本體為研究的出發(fā)點(diǎn)，應(yīng)用波形分析法總結(jié)了全部二十一段中的六種曲調(diào)的頻率、時(shí)間特性、響度、結(jié)構(gòu)等等特點(diǎn)，初步找出其中規(guī)律性的部分，并發(fā)掘《辛丹內(nèi)訌》音樂(lè)中特別的地方，如句首襯詞“翁那喲”和裝飾性潤(rùn)腔的音樂(lè)特性等等。下篇的后半部分，結(jié)合筆者專(zhuān)業(yè)，對(duì)《辛丹內(nèi)訌》中體現(xiàn)出的音樂(lè)創(chuàng)作觀念進(jìn)行了初步的論述和研究。涉及方面有《辛丹內(nèi)訌》的詞曲并作創(chuàng)作方法、重復(fù)原則、無(wú)高潮的音樂(lè)創(chuàng)作觀念和即興表演、即興創(chuàng)作思維等等。這幾點(diǎn)《辛丹內(nèi)訌》的創(chuàng)作觀念對(duì)現(xiàn)今音樂(lè)創(chuàng)作具有一定的啟示意義和實(shí)際意義。 在本文的結(jié)論中，闡述了本文研究《辛丹內(nèi)訌》的目的不僅僅是發(fā)現(xiàn)《辛丹內(nèi)訌》音樂(lè)本身的Yg秘，，而是打開(kāi)一扇通往研究《格薩爾》音樂(lè)的大門(mén)，最終目的是從對(duì)《辛丹內(nèi)訌》、《格薩爾》的音樂(lè)研究中認(rèn)識(shí)自己，從音樂(lè)分析中得到寶貴的啟示，從創(chuàng)作觀念的梳理中找尋自己創(chuàng)作的道路。 到目前為止，全世界范圍內(nèi)，可以借鑒的對(duì)《格薩爾》音樂(lè)本體的研究非常少，更難以找尋全面系統(tǒng)總結(jié)某一部《格薩爾》音樂(lè)的資料。這既給研究帶來(lái)很大的難度，同時(shí)也讓本文的研究更富理論意義和實(shí)際意義。在音樂(lè)本體的分析中，筆者采用波形分析方法，這種新的、適合分析《辛丹內(nèi)訌》這種單人表演的民族民間音樂(lè)的研究方法，從另一種研究角度，以另一種分析邏輯展開(kāi)對(duì)《辛丹內(nèi)訌》 《格薩爾》之《辛丹內(nèi)證》音樂(lè)初析 音樂(lè)各因素的方方面面研究。不能說(shuō)己研究得很全面，但是從研究方法到研究過(guò) 程再到研究結(jié)論等等，本文嘗試走出一條非西方傳統(tǒng)的音樂(lè)分析研究思維的原創(chuàng) 道路，這是本文的創(chuàng)造性成果。 介于目前研究資料和材料的匾乏，也因?yàn)樾碌囊魳?lè)分析方法處于剛起步的階 段，所以本文還有很多的不足之處，希望得到老師、朋友的熱心指正。筆者只期 望在《格薩爾》音樂(lè)研究領(lǐng)域邁出的這一小步，能夠拋磚引玉，引發(fā)各界對(duì)《格 薩爾》音樂(lè)研究的熱潮。在本文的寫(xiě)作過(guò)程中，筆者得到何訓(xùn)田教授的悉心指導(dǎo) 和大力幫助，在此表示深深的感謝!
[Abstract]:This paper is divided into two parts. The first part begins with the concept of epic, and expounds the basic content, background and spreading process of the longest epic in the world. In the second half of the first part, I touch on the basic style characteristics of Gesar and the characteristics of rap artists. The last chapter of the last chapter briefly introduces the plot content of the research object of this paper, "Sindan infighting", which is one of the "Gesar" rap in Gannan Tibetan area. In the next chapter, the author introduces in detail the research method of "Sindan infighting" music ontology, which is called waveform analysis method, and then takes "Sindan infighting" music ontology as the starting point. The characteristics of frequency, time characteristics, loudness, structure and so on of the six tunes in all 21 sections are summarized by using waveform analysis method. The regular parts of them are preliminarily found out, and the special places in the music of "Sindan infighting" are explored. Such as the first line of the word "Wunnayu" and decorative melodies of music and so on. The second half of the second part, combined with the author's specialty, discusses and studies the ideas of music creation embodied in Sindan's infighting. The related aspects include the song and composition of Sindan infighting, the principle of repetition, the idea of music creation and improvisation without climax, the thought of improvisation and so on. These ideas have some enlightening and practical significance for music creation. In the conclusion of this paper, the purpose of this study is not only to discover the Yg secret of the music itself, but also to open the door to the study of "Gesar" music. The ultimate purpose is to know oneself from the music research of Sindan infighting and Gesar, to get valuable inspiration from music analysis, and to find out the way of creation from the combing of creative ideas. Up to now, there are very few researches on the music ontology of Gesar all over the world, and it is even more difficult to find a comprehensive and systematic summary of a certain music. This not only brings great difficulty to the research, but also makes the research more theoretical and practical. In the analysis of music Noumenon, the author adopts the waveform analysis method, which is new and suitable for analyzing "Sindan infighting", the research method of folk music performed by single player, from another research angle. A preliminary Analysis of the Music of "Sindanet's Syndrome" in < Gesar] by another Analytical Logic All aspects of music are studied. It can't be said that the research has been very comprehensive, but from the research method to the research process and then to the research conclusion and so on, This paper attempts to find out an original way of thinking in non-western traditional music analysis, which is the creative achievement of this paper. Due to the lack of current research materials and materials, and because the new music analysis method is in its infancy, there are still many deficiencies in this paper. I hope to get a teacher. A friend's enthusiasm is correct. The author only hopes that this small step in the field of music research in "Gesar" will be able to draw a brick. Triggered a wave of music research in Gesar. In the process of writing this article, the author received the careful guidance and great help of Professor he Xuntian, and expressed his deep appreciation here!
【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】：2004
【分類(lèi)號(hào)】：J617

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