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京韵白派京韵大鼓艺术

发布时间: 2008-9-18


预读:vely complete. It has a distinguishing status in the in Chinese traditional arts. It has its own special charm and beauty with many different styles. The main styles are: Zhang (XiaoXuan), Liu (Baoquan), Bai (Yunpeng), Bai(Fengming) (or the younger Bai Style) and Luo (Yusheng) Style. Among them, Zha京韵白派京韵大鼓艺术
论文中文摘要:京韵大鼓形成于十九世纪末二十世纪初,是由冀中河间府的木板大鼓逐渐演变而成。据资料记载来看,木板大鼓流入北京,至少有二百年以上历史。由于木板大鼓的吐字行腔中带有浓重的河北乡音,在其初流入北京时被京城人称为“怯大鼓”。十九世纪后半叶,木板大鼓在第一代京津木板大鼓艺人的大胆革新下,开始向京韵大鼓演变。京韵大鼓进展相对完备,在曲艺的百花园中位显身贵。其韵雅词美、流派纷呈。产生的流派有:张(晓轩)派、刘(宝全)派、白(云鹏)派、白(凤鸣)派(称少白派)和骆(玉笙)派。其中,张(晓轩)派京韵进展到第二代就已失传。笔者通过多年艺术实践,学习演唱白派京韵,深入了解其艺术规律及传承方式,对实践历程进行论述化整合。并将现有资料进行图表式的浅析,以形态学与史学入手,对白派京韵的旋律、板眼、润腔、伴奏等方面进行横向、纵向的比较论述:横向浅析白派京韵与其它京韵流派之间的差别;纵向浅析一个世纪以来,四代大鼓艺人对白派京韵的传承历程。进一步挖掘白派京韵在韵味、行腔、表演等方面的艺术风格特点,探究这种艺术风格得以产生和流传的根本理由,并浅析白派京韵在整个京韵大鼓进展历史上的重要作用。通过上面陈述的探讨策略,试图完成论述与实践之间多层递进的明确阐述,给鼓曲音乐的探讨提供一个新的维度和视角,为鼓曲音乐的进展道路提供论述依据,使传统的形式能更好地赋予时代性的内容。

【English Abstract】 Jingyun Drum, story-telpng in Beijing dialect with drum accompaniment was formed between late 19th and early 20th century was evolved from board drum in Hejian, Hebei Province. Records indicate that board drum entered Beijing for at least two hundred years. Board drum was called“timid drum”because of its strong Hebei accent. In the late 19th, the board drum started its evolving under the bold reform by the first generation of the Beijing-Tianjin board drum artist.The development of JingYun Drum is relatively complete. It has a distinguishing status in the in Chinese traditional arts. It has its own special charm and beauty with many different styles. The main styles are: Zhang (XiaoXuan), Liu (Baoquan), Bai (Yunpeng), Bai(Fengming) (or the younger Bai Style) and Luo (Yusheng) Style. Among them, Zhang (Xiaoxuan) style disappeared when it passed to the second generation.Through years of artistic practice, the author studied singing Bai Style Jingyun Drum and obtained deep understanding of its artistic rules as well as its inheriting way. The author concludes the practicing process into theory and analysis existing data into graphics. Then from the perspective of morphology and history, the author vertically and horizontally compared the melody, measure in traditional Chinese music, aria and accompaniment: horizontally analysis the difference of Bai Style Jingyun Drum and other JingYun Styles; vertically analysis the inheritance of Bai Style Jingyun Drum of the four generation.Further studies characteristics of the aroma, phonating and performance and explores root cause of the form and spreading of this art style. It also analysis the contributions of Bai Style Jingyun drum in the history of development of Jingyun Drum.Through the study above, the author tries to clarifyof the multilayer progression between theory and practice to provide a new perspective to the study of drum music and provide a theoretical support for the development of drum music, hoping to provide the traditional art form more modern contents.

【关键词】 白派; 京韵大鼓; 风格;
【Key words】 Bai Style; JingYun Drum; Schools;
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