【作者】 于言华；

【导师】 王耀华；

【作者基本信息】 福建师范大学 ， 音乐学， 2010， 硕士

【摘要】 汶河大鼓是鲁中南土生土长的民间曲艺,又名“大鼓书”,用泰安方言演唱,唱腔高拔、诙谐幽默。在长期的历史发展过程中,汶河大鼓既保持了自己独特的艺术魅力,又借鉴姊妹艺术的特点来丰富完善自己,形成了风格独特、别具韵味的艺术特点。本文通过对建国以来汶河大鼓“兴—衰—复苏”三个时期的剖析,为在现代社会中的传统文化如何保存与传承提供一个参考。另外,作为属于跨学科领域的研究,借用不同学科的视角,本文在民族音乐学的基础上,借鉴美学知识对其进行解析,采用“局内人”、“局外人”双视角,以多角度、多层面的视野对汶河大鼓的兴衰进行剖析,从地理政治文化背景、汶河大鼓自身艺术特点、观众审美心理变化的三个角度归纳总结,试图在一定程度上丰富大鼓研究的文化理论。更多还原

【Abstract】 Wenhe dagu is a folk quyi in Middle and South of Shandong Province, also known as "dagu shu", with the Tai dialect singing, singing high-pull, witty humor.In the course of historical development in the long course of historical development, Wenhe dagu while maintaining its own unique artistic charm, but also learn the characteristics of sister arts enriches itself, forming a unique style, unique charm of artistic features.This paper attempts to dagu since the founding of the Wenhe dagu, "thrive- failure-recovery"of three periods of analysis, as in modern society preservation and transmission of traditional culture to provide a reference.In addition, as part of interdisciplinary research in the field, to use the perspective of different disciplines, this paper based on the national music school, drawing on their knowledge to resolve aesthetic, using "insider", "outsider" double perspective, to multi-angle, multi-levelthe the prosperity and decline of the Wen River to analyze the drum, from the geopolitical and cultural background, artistic characteristics Wenhe dagu itself, the audience of the three psychological changes aesthetic point of view summarized, but also to a certain extent, rich the cultural theory of dagu.更多还原