美声唱法在西藏传统歌舞“囊玛”“堆谐”表演中的应用研究  

The Application of Bel Canto Operatic Singing into the Performance of Traditional Tibetan Singing and Dance Art"Nang ma"and"Stod gzhas"

作　　者：多吉顿珠 Dorji Thondup

机构地区：[1]西藏大学艺术学院音乐系

出　　处：《西藏艺术研究》2023年第2期54-59,共6页Tibetan Art Studies

摘　　要：本文主要以美声唱法在西藏传统歌舞“囊玛”“堆谐”表演中的应用为研究内容。通过简述美声唱法的基本状况并归纳、总结美声唱法中最基本的发声方法和表演能力;通过阐述西藏传统歌舞“囊玛”“堆谐”的历史渊源和演唱方式,概括性地探讨西藏传统歌舞艺术的整体表演形式,并从表演形式、演唱风格、传承对象等角度出发,分析西藏传统歌舞“囊玛”“堆谐”的表演特征,以及在表演中存在的问题。本文主旨是希望借鉴和运用西方美声唱法中较科学的发声方法和表演技巧,提高西藏传统歌舞“囊玛”“堆谐”整体表演水准的可能性,以期更准确地把握发声方法上的共性审美,以及表演形式和语言上的个性审美。This article mainly focuses on the application of bel canto operatic singing in the performance of traditional Tibetan songs and dances.This paper briefly describes the basic characteristics of bel canto singing and categorizes and summarizes the most basic vocalization methods and performance ability of bel canto singing.By exploring the historical origin and singing methods of traditional Tibetan song and dance"nang ma"and"stod gzhas",this paper generally studies the overall performance form of traditional Tibetan song and dance art,ranging from the perspectives of performance form,singing style,to the inheritors and beyond.This paper analyzes the performance characteristics of traditional Tibetan song"nang ma"and dance"stod gzhas"and their performance problems.Referring to and using the relatively scientific vocalization methods and performance abilities in Western bel canto singing methods to improve the overall performance level of traditional"nang ma"and"stod gzhas",it can more precisely reflect the common aesthetics of vocalization methods,as well as the aesthetics individuality of performance forms and languages,to ultimately improve the artistic values of Tibetan traditional song and dance performances.

关 键 词：美声唱法 囊玛 堆谐 表演 

分 类 号：J616[艺术—音乐]