民族的也是世界的——浅析陈勇艺术歌曲的创作、演唱及教学.pdfVIP

目 录 摘 要·····························································1 Abstract ·····························································2 第一章：关于艺术歌曲················································1 第一节：艺术歌曲概念、历史、特点 ································1 第二节：艺术歌曲在欧洲发展······································2 第三节：艺术歌曲在当代中国发展情况 ······························3 3.1 五四运动后民国初期 ···································3 3.2 抗战时期和解放战争时期 ···································3 3.3 改革开放近三十年·········································3 第二章：中国艺术歌曲创作基本状况与陈勇艺术歌曲的创作的特点··········4 第一节：中国艺术歌曲发展中少数民族音乐元素的融入················4 第二节：陈勇生平及其作品········································5 第三节：作品的创作背景 ···········································6 3.1 云南的特殊地理、历史环境·································6 3.2 多民族的音乐文化·········································6 3.3 艺术歌曲的发展趋势·······································7 第四节：陈勇艺术歌曲的主要特点···································8 4.1 国际化的创作手法·········································8 4.2 少数民族地域色彩的融入···································9 4.3 原汁原味的少数民族题材··································10 4.4 艺术性和民族性兼备······································12 第三章：用民美结合的唱法来展现陈勇艺术歌曲··························13 第一节 表现陈勇艺术歌曲的最佳唱法——“民美结合”唱法···········13 1.1 艺术性很强，不能完全用民族唱法···························13 1.2 民族性很强，不能完全用美声唱法··························14 1.3 民族唱法与美声唱法相结合································15 第二节 依照歌曲表现所需，合理运用“民美结合”法 ··················16 2.1 仔细分析曲谱，找出少数民族元素所在······················16 2.2 根据歌曲的性格控制好声音································17 2.3 扑捉藏于谱子之外的少数民族味道··························18 结 语···························································20 参考资料···························································21 致 谢·························································