论方言在民族声乐中的重要性.doc

论方言在民族声乐中的重要性
目录
内容摘要··························································1
关键词··························································1
Abstract··························································1
Key words·························································1
引言···························································2
一、方言在中国民族声乐作品中展现的艺术风格························2
(一)民族风格····················································
2
(二) 地域风格····················································3
(三)时代风格····················································5
方言在中国民族声乐作品中的重要作用····························6
(一)方言是歌唱语言的重要组成部分································6
(二)方言是中国民族声乐作品体现个性的重要形式····················7
1、美化语言···················································7
2、渲染气氛···················································8
3、强化风格···················································8
4、深化感情···················································10
结语······························································10
参考文献··························································11
致谢··························································
内容摘要:方言在歌唱语言中的地位是重要的,它与科学的发声共同表现歌唱的民族特征和其艺术个性。一种民族声乐艺术必须有它独特的方言特征,才能展现出它独特的风格和韵味。方言不仅代表着这一地区的语言文化,同时也能反映出这个民族地区的生活习俗、风土人情等。所以说一个民族或国家的民族声乐艺术的起源和发展,与其方言有着密不可分的缘源。本文从方言在民族声乐中体现的艺术风格入手,阐述方言在民族声乐作品中的重要性。
关键词:方言歌唱语言艺术风格艺术个性
Abstract:
Key words:

引言
声乐作为一种歌唱的艺术,它是伴随着人类社会而诞生的最早的一种艺术形式,人之所以能歌唱是由于人具备了高级神经活动而发展起来的清晰的语言。声乐艺术从它诞生起,不管是原始的呐喊,还是当今声乐技巧的高度发挥,以及声乐形式的异彩纷呈,它始终伴随着人类的语言,而声乐技巧的提高也始终为表现语言和美化语言服务。
一个民族或国家的民族声乐艺术的起源和发展,与其方言有着密不可分的缘
源。一般来讲,一种民族声乐艺术语言中的方言,都代表着这个地区的语言文化。一种民族声乐艺术必须有它独特的方言特征,有着独特方言的风格和韵味,而且这些方言经过艺术加工处理,更显得独特和浓郁。方言有它的地区性、民族性、文学性、艺术性。方言同时也能反映出这个民族地区的生活习俗、风土人情等。
方言性是中国民族声乐语言最为显著的本质特征之一。所谓方言,就是带有鲜明民族特色的地方语言。中国有五十六种民族语言而且各个民族由于生活环境、生活习惯的不同,加之其他因素的影响,方言在不同地方又有不同程度的差异。“在中国一共有北方、吴、湘、赣、客家、闽、粤七大方言区。”[J].重庆师专学报, 第 20卷第 2 期 9
这些方言区的语言无论从字的结构还是语法、语音上都有较大的差异,体现出了鲜明的地
方民族特色。
一、方言在