菲律宾民族弹拨乐队一朗达拉亚乐队的探讨Study on the Philippines national musical band Langdalaya band 摘要:（摘要内容经过系统自动伪原创处理以避免复制，下载原文正常，内容请直接查看目录。） 本文在实地考核与进修的基本上对菲律宾朗达拉亚乐队的汗青来源、乐器特点、文明性、艺术性及教导感化、音乐形状停止研究与剖析。文章以人类学和平易近族音乐学的“文明中的音乐研究”这一立场动身，试图解释朗达拉亚乐队传到菲律宾后所构成的本身的艺术特性和平易近族特点。笔者试图找出一个研究的新视角，对朗达拉亚乐队的研究做出中国人的懂得和认知，提醒西班牙文明移入菲律宾以后的融会、成长及延续的情形。本文除绪论和结论外，包含六章内容：第一章，朗达拉亚的文明配景，此章共分三节，以西班牙殖平易近时代菲律宾的音乐汗青为配景，对朗达拉亚乐队的汗青来源及演化成长做一个梳理，试图找出其传播变异的缘由和特色。第二章，朗达拉亚乐队中的重要乐器，此章共分四节，本章经由过程对每件乐器的汗青渊源、特点、调音及乐队编制，解释该乐队在汗青成长进程中所构成的一种独具平易近族特点的艺术特点。第三章，菲律宾年夜学音乐学院朗达拉亚音乐教导。笔者曾在菲律宾年夜学旁听朗达拉亚乐队课及进修班都利亚乐器，以本身的进修阅历来论述朗达拉亚乐队在古代黉舍音乐教导中的感化。第四章，朗达拉亚的文明性，向读者引见已举行三届的国际朗达拉亚节的举行目标、内容和意义，西语论文，提醒出朗达拉亚乐队与世界其他琉特琴家族弹拨乐器的变异和接洽。第五章，朗达拉亚著作探寻，以《夜晚摇篮曲(Sarung Banggi)》。《菲律宾第二号旋律(Pilippine Medley No。2)》两部著作为例，做出音乐本体剖析，总结出其音乐的作风特点。第六章，朗达拉亚的作曲家及组合。向读者引见在菲律宾风行的乐队组合及有名的作曲家。经由过程对朗达拉Ⅱ乐队的研究，笔者得出以下结论，在三百年的西班牙殖平易近汗青中，其菲律宾外乡的人种构造产生了具年夜的变更，混血人种的涌现，使得他们在两重文明的作用下，西语毕业论文，听到这类欧式音乐不再排挤，而是接收这一乐队情势，使这类乐队情势得以在这片地盘生根抽芽。菲律宾是亚洲独一的上帝教国度，菲律宾社会以上帝教为焦点，构成了奇特的价值不雅，并以这类价值不雅将他们的物资文明、经济、教导、政治、伦理、艺术、社会轨制与社会组织等同一起来。那末在这类宗教文明作用下，其音乐加倍着重东方的情势。朗达拉亚乐队传入菲律宾开端时代其实不普及，它重要涌现在高等饭铺，为上等阶级的人办事。1898年菲律宾颠覆了西班牙殖平易近统治，树立了菲律宾共和国，在宪法中宣告教导世俗化，全菲实施责任教导和收费的小学教导，这类乐队情势开端渐渐的在黉舍教导中普及开来，菲律宾人也愿望用这类外来的乐队情势去表示本平易近族的音乐文明，这个时刻涌现了许多作曲家及组合。朗达拉亚的音乐肢体和构造总的来讲其形式完整是欧式的。 Abstract: The site assessment and learning the basic on the historical sources to the Philippines Langdalaya band, instrument characteristics, civilization, art of and teaching effect, music shape carry on research and analysis. The article to leave this position anthropology and folk music school "civilization of music research", trying to explain the spread to the Philippines in the band Langdalaya posed itself art characteristics and plain near family characteristics. The author tries to find a research from a new perspective, make Chinese people's understanding and cognition of the research about "the band Langdalaya, reminded the Spanish civilization moved to the Philippines after the fusion, growth and the continuation of the situation. This paper except the introduction and conclusion, contains six chapters: first chapter, Rhonda Raya of cultural background, this chapter is divided into three sections. In the history of music in the Spanish colonial era in the Philippines as the background, the band Rhonda Raya the history source of evolution and growth to do a comb, trying to find out the propagation variation causes and characteristics. In the second chapter, the important instrument Langdalaya band. This chapter is divided into four sections, this chapter through the process of each musical history, characteristics, and tuning band prepared to, explaining the band in the artistic characteristics of historical development process consisting of a unique plain near family characteristics. The third chapter, the University of Philippines School of music Langdalaya music teaching. I have in the University of the Philippines, attend Langdalaya band courses and learning Bandurria instruments, to their own learning experience to discuss Langdalaya band in ancient school happen the music teaching in the role. The fourth chapter, the Rhonda Raya civilization and introduces the reader to have been held three session of the international Rhonda Raya festival held on the purpose, content and significance, to remind the Rhonda Raya band and the rest of the world a lute family plucked string instrument variation and approached. The fifth chapter, Langdalaya works analysis, to "night Lullaby" (Sarung Banggi). "Philippines second melody" (Medley No Pilippine. Two works, for example, to make music ontology analysis, summed up the style of its music features of the music. The sixth chapter, Rhonda Raya's composer and composition. Introduce to the readers of the popular band composition in Philippines and the famous composer. Through the band on a Langdala II research, the author draws the following conclusions. In the three hundred years of Spanish colonial in recent history, the Philippine indigenous ethnic structure produced a big change, the emergence of mixed race so that they under the influence of dual civilization, hear the European music no longer exclude, but instead receives the band situation, the situation of this kind of band to be in this piece of land sprout. The Philippines is Asia only Catholic country, Philippine society God taught to focus, constitute the peculiar value of indecent, and to the value of indecent will their material and cultural, economic, education, politics, ethics, art, social system and social organization equal together. Under the influence of this kind of religious civilization, the music has more emphasis on the East. Langdalaya band incoming Philippine start time actually not popular, it is important to emerge in higher Fanpu, to work for upper class people. In 1898, the Philippines to subvert the Spanish colonial rule, established the Republic of the Philippines, in the constitution declared taught secular, the whole Philippine implementation responsibility to teach and fees for primary school teaching, the band situation began to gradually in the schools teach in popularity, Filipinos desire with the foreign band situation to represent the ethnic music culture, this time the emergence of many composers and combination. Rhonda Raya's music body and structure in general, in terms of its complete form is the European style. 目录: |
