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Analysis of the dutar playing technique of Abdurehim Heyt.

机译:分析Abdurehim Heyt的Dutal演奏技术。

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摘要

Uyghur dutar player Abdurehim Heyt is hailed by many Uyghurs as the Dutar King, referring to his mastery of the instrument. This thesis examines several of Heyt's songs and compares them with songs from three other Uyghur dutar players in an attempt to isolate and define the unique characteristic of Heyt's dutar playing technique that sets him apart from other Uyghur dutar players.;This study presents a brief examination of the concept of music ornamentation as it has developed in the West. The Uyghur concept of music ornamentation -- purakh -- is then explained and compared with the Western concept of ornamentation. A case is made for the similarity between the early concept of ornamentation in the West during the Renaissance and the current Uyghur concept of ornamentation.;The majority of this study is divided into two sections -- transcription and analysis. A set of music analysis tools developed by Vida Chenoweth and Tom Avery provides a methodology foundation for both sections. Several computer programs are used to assist in the transcription of the instrumental portion excerpted from fourteen songs -- eight from Heyt and two each from three other Uyghur musicians. All of the songs analyzed belong to the genre of Uyghur folksongs. Kenneth Pike's etic-emic concept is applied to the analysis phase with the analysis tools to identify ornamentation techniques and separate them from the basic melody.;The results of the study show that, in all of the areas analyzed save one, the dutar playing techniques used by all musicians were very similar. The one area where there was a striking difference between the dutar playing technique of Heyt and the other three musicians was in the extent to which Heyt played the drone string.
机译:维吾尔人的tar子演奏家Abdurehim Heyt被许多维吾尔人称赞为Dutar King,指的是他对乐器的精通。本文研究了Heyt的几首歌曲,并将它们与其他三位维吾尔族的杜塔尔演奏家的歌曲进行比较,以试图找出并定义Heyt的杜乐演奏技术的独特特征,使他与其他维吾尔族的杜塔尔演奏家有所不同。西方音乐装饰概念的发展。然后,对维吾尔族音乐装饰概念-purakh进行了解释,并将其与西方装饰概念进行了比较。文艺复兴时期西方早期的装饰概念与当前的维吾尔族装饰概念之间的相似性是有理由的。本研究的大部分分为两个部分:抄写和分析。 Vida Chenoweth和Tom Avery开发的一组音乐分析工具为这两个部分提供了方法论基础。几种计算机程序被用来辅助转录十四首歌曲摘录的器乐部分-Heyt的八首和其他三名维吾尔音乐家的每首两首。分析的所有歌曲均属于维吾尔族民歌的流派。肯尼斯·派克(Kenneth Pike)的主位论概念通过分析工具应用于分析阶段,以识别装饰技巧并将其与基本旋律分开。研究结果表明,在所有分析的领域中,除了一个演奏之外,都使用了dutar演奏技巧。所有音乐家使用的都非常相似。 Heyt和其他三位音乐家的Dutal演奏技巧之间存在显着差异的一个方面是Heyt演奏无人机弦的程度。

著录项

  • 作者

    Kee, Michael Alan.;

  • 作者单位

    Liberty University.;

  • 授予单位 Liberty University.;
  • 学科 Music.
  • 学位 M.A.
  • 年度 2011
  • 页码 203 p.
  • 总页数 203
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类
  • 关键词

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