学位授予单位 华中师范大学  

中文关键词 赵元任;声乐作品;民族性;演唱表达  

导师 梁劲；林能杰  

论文级别 硕士  

学科专业名称 声乐艺术研究  

中文摘要 赵元任是中国近现代史上的杰出人物，留美期间曾在哈佛大学和康奈尔大学学习和声、对位、作曲、声乐和钢琴，早在1913年就开始音乐创作。他创作的声乐作品采用民族性的题材，吸收中国民族音乐的因素，注重民族风格的语言，吸收西洋音乐技法，探索民族化的发展道路。他在音乐创作上有着突出的成就，是我国近现代史上音乐创作的先驱人物。本文选取“赵元任的声乐作品”这一视角，试图对赵元任的音乐生活、声乐作品、创作风格进行深入地认识和理解，对其声乐作品的民族性进行较为系统地论述，在前人研究的基础上不断地探索，并在尝试对其声乐作品的演唱提出自己的认识和见解。本文主要从以下几个章节来探讨赵元任声乐作品的民族性： 第一章，赵元任的生平及时代背景。赵元任的生平按照年代和生活阶段，分为家庭背景、求学时期、教学生涯、美满婚姻四个方面，并侧重于对赵元任音乐生活的介绍；赵元任所处的时代背景则主要从留美学生的文化背景和新音乐的文化背景方面展开论述。通过对生平和时代背景的分析，可以看出赵元任从小接受中国传统的文化教育，受中国民族传统文化的熏陶，这些早期教育对他性格的形成和以后生活、事业的发展有较大的影响，并成为其音乐创作民族性的根源。第二章，赵元任的声乐作品及其分类。这一章根据赵元任声乐作品的不同题材来进行分类和概述，包括创作歌曲、编配歌曲和编配传统民歌三大类，创作歌曲中又可分为新式谱写的歌曲；儿童教育歌曲；民众教育歌曲；家庭生活歌曲；校歌、团歌及运动会歌和社会现实歌曲6种题材类型。通过对歌曲的分类和概述，可以看出赵元任创作的声乐作品关注民族性的题材，编配的歌曲和传统民歌更透视出他对民族音乐的热爱。第三章，赵元任声乐作品创作的民族风格。赵元任声乐作品中的民族风格，首先体现在他对民族音乐因素的运用上，包括对民歌、戏曲曲艺、吟诗调的吸收借鉴：其次体现在创作中对民族语言的追求上，包括中国语言如何同曲调更好地结合，歌唱中的读音与归韵如何更为准确，在这些方面赵元任都有自己的见解和原则；第三  

英文摘要 Zhao Yuanren is an elitist in modern Chinese history. He learns harmonics, counterpoint, composition, vocality and pianism when he studies at Harvard and Cornell University and starts the musical inditement as early as 1913. His vocals adopt the theme of nationality, assimilate the folk music factors, pay attention to the language of national style, absorb the occidental skills, and explore an evolution road of nationalization. Zhao's prominent accomplishments of music make him a precursor in the history of modern Chinese musical inditement. With the angle of view of Zhao Yuanren's vocals, this thesis tries to comprehend and understand his life of music, his vocals, and the style of inditement more deeply. The thesis also discusses the nationality of his vocals systematically and brings forward the author's own opinion about performing Zhao's vocals based on the previous research. This thesis discusses the nationality of Zhao's vocals with four chapters. In Chapter one, the author depicts all Zhao's life and the background of his time. As to his lifetime, the thesis introduces Zhao's familial backdrop, schooling, teaching, his marriage and emphasizes on his music life. As to the background of that time, the thesis represents the cultural backgrounds of the students in the United States and of the New Music. Through these analyses, we can see that Zhao receives the traditional education and is absorbed in it, which shapes his characteristics, influences his career later, and becomes the national radix of his music inditement. In Chapter two, the thesis attempts to classify Zhao's vocals. According to the subject, his vocals are arranged into compose music, incidental music and incidental folk songs. Withal, the compose music is classified again into new type music, enfant education songs, hoi polloi education songs, domesticity songs, school anthem and social realistic songs. From the classification, we find that Zhao focuses on the theme of nationality and devotion to the folk music very much. In Chapter three, the thesis discusses the national style of Zhao's vocals. Zhao incarnates the national style first by using the folk music elements into his vocals including referring to the folk music, Chinese drama and chanting chanson. Secondly, Zhao incarnates the national style by pursuing the application of national language into