發(fā)布時(shí)間：2018-05-02 20:23

  本文選題：明清 + 蒙古族��； 參考：《福建師范大學(xué)》2006年碩士論文

【摘要】：明清時(shí)期是蒙古族音樂(lè)發(fā)展的重要?dú)v史時(shí)期，明清兩代，蒙古族置身于截然不同的歷史環(huán)境中，從疆域遼闊的元帝國(guó)統(tǒng)治者轉(zhuǎn)變?yōu)橹徽碱I(lǐng)漠北邊疆的北元政權(quán)，從游離于明代漢族統(tǒng)治的北元政權(quán)成為滿清政府的邊疆的重要成員。這些都與這一時(shí)期音樂(lè)的發(fā)展有著密切的關(guān)系。 退居漠北的北元政權(quán)作為較為獨(dú)立于其它民族文化之外的政權(quán)以游牧的生產(chǎn)方式生活在大漠以北，促使這一時(shí)期蒙古族音樂(lè)的發(fā)展無(wú)論其內(nèi)容還是體裁更多體現(xiàn)出蒙古民族音樂(lè)的特征，并形成了獨(dú)具特色的長(zhǎng)調(diào)風(fēng)格歌曲。清代蒙古族音樂(lè)發(fā)展相對(duì)繁榮，多種音樂(lè)體裁得到恢復(fù)和發(fā)展，并且在與藏、漢民族音樂(lè)的交流中創(chuàng)造出一些新體裁、新風(fēng)格的音樂(lè)形式。蒙古族音樂(lè)風(fēng)格區(qū)經(jīng)歷了明清兩代的鞏固、細(xì)化，最終在清朝末年形成穩(wěn)定、成熟的民族音樂(lè)風(fēng)格區(qū)。 本文通過(guò)對(duì)明清蒙古族音樂(lè)進(jìn)行了初步的梳理和研究，從發(fā)展、體裁、風(fēng)格以及交流幾方面的初步探討了明清蒙古族音樂(lè)發(fā)展的脈絡(luò)。力求較為真實(shí)、清晰的反映明清蒙古族音樂(lè)發(fā)展的歷史概貌。
[Abstract]:The Ming and Qing dynasties was an important historical period for the development of Mongolian music. In the Ming and Qing dynasties, the Mongols were placed in a completely different historical environment, from the vast rulers of the Yuan Empire to the Northern Yuan regime, which only occupied the northern frontier of the desert. The Northern Yuan regime, which was ruled by the Han nationality in Ming Dynasty, became an important member of the Manchu government. These are closely related to the development of music in this period. The Northern Yuan regime, which retreated to the north of the desert, as a regime independent of other national cultures, lived in a nomadic mode of production north of the desert. The development of Mongolian music in this period reflects the characteristics of Mongolian folk music in terms of its contents and genres, and forms a unique long tone style song. The development of Mongolian music in the Qing Dynasty was relatively prosperous, and a variety of musical genres were restored and developed, and some new styles and styles of music were created in the communication with Tibetan and Han ethnic music. Mongolian music style area experienced the consolidation and refinement of Ming and Qing dynasties, and finally formed a stable and mature folk music style area in the late Qing Dynasty. This paper discusses the development of Mongolian music in the Ming and Qing dynasties by combing and studying the Mongolian music in Ming and Qing dynasties from the aspects of development, genre, style and communication. Strive to be more true, clearly reflect the history of the development of Mongolian music in Ming and Qing dynasties.
【學(xué)位授予單位】：福建師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2006
【分類號(hào)】：J609.2

【引證文獻(xiàn)】

相關(guān)博士學(xué)位論文 前1條

1 徐欣;內(nèi)蒙古地區(qū)“潮爾”的聲音民族志[D];上海音樂(lè)學(xué)院;2011年

相關(guān)碩士學(xué)位論文 前2條

1 金磊鑫;蒙古族風(fēng)格歌曲的創(chuàng)作與演唱[D];南京藝術(shù)學(xué)院;2010年

2 趙偉晶;蒙古族長(zhǎng)篇敘事民歌《嘎達(dá)梅林》及其音樂(lè)文化研究[D];中央民族大學(xué);2010年

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本文編號(hào)：1835345