民族传统音乐文化是一个民族的灵魂和象征，更是一个民族精神的重要支柱， 不仅需要传承，而且需要发展创新。几千年来蒙古族乌日汀哆发展脉络和历程主 要是以民间创作和口传心授、潜移默化的形式传承下来的，将如何对其进行多角 度的研究、发掘与传承日益引起学术界的广泛关注。多年来经过学者不懈的努力 目前乌日汀哆演唱技法，艺术研究取得了可喜进展，现已建构起了从演唱教学到 学术研究有机的学术链。教材《长调演唱教学曲目》, 专著《蒙古族长调民歌及 其演唱》、专著《蒙古族长调民歌概论》、《蒙古族经典民歌赏析》等研究成果, 已 经正式出版并纳入到了课堂教学之中。在内蒙古地区有多所高校以传承和弘扬少 数民族音乐文化为办学特色，在注重音乐教育的基础上，突出专业特点与民族特 色，尤其在蒙古民族音乐教育主要学科乌日汀哆的教学上，加大投入和培养力度， 注重学生专业修养和实际能力的训练。大力培养传承民族文化人才，利用现代化 手段进行更深入的研究，改变乌日汀哆以往口头传承的历史，顺应当前世界多元 文化音乐教育的国际趋势而设定的目标。通过借鉴内蒙古地区高校中乌日汀哆专 业的成功教学经验，在此基础上提出，相关区域普通高校声乐教学中引入乌日汀 哆选修课的可行性研究，乌日汀哆的传承与发展仅局限在内蒙古地区是远远不够 的，应从内蒙古相关区域开始把范围逐步扩大，这样才能有效地传承与弘扬民族 文化。 关键词：乌日汀哆；传承；声乐教学II Abstract Traditional music culture is not only the soul and the symbolic of a nation, but also an important pillar of the national spirit. It needs inheritance and development innovation. For thousands of years, the development of Mongolian Urtin duu is mainly passed down by folk creation or a kind of man-to-man teaching method. It has been aroused attention increasingly in academia that how we will study and inherit it from a number of aspects. After years of scholars unremitting efforts, Urtin duu' singing techniques and art research has made an encouraging progress. It also has constructed a academic chain from singing teaching to the academic study. Some works and the research have been published and used for classroom teaching. For example, textbookthe teaching pieces of singing tone, monograph Mongolian folk songs and singing tone, monograph Mongolian folk songs tone , the Mongolian classical folk music appreciation, etc. In Inner Mongolia region, many institutions of higher learning are characterized by inheriting and propagate the national music culture. On the basis of music education ,protrude professional characteristics and national characteristics. Especially in Mongolian music education, Urtin duu is the main subject. We increase the investment and strengthen the cultivation of the Urtin duu music teaching, and pay more attention to students’ practical skills and professional knowledge. We set a goal which complies with the current global trend of multicultural music education, by training talents who can inherit the national culture, using modern methods for further study, changing the history of man-to-man teaching method. Through using for reference the Urtin duu's successful experience of universities and colleges in Inner Mongolia region. In institutions of higher learning of relatedIII regions, we introduced the elective course of feasible study of Urtin duu into the teaching of vocal music. It is not enough to inherit and develop Urtin duu' in the Inner Mongolia. It should be gradually expand the range so that we can inherit and develop national culture more effectively. Key words: Urtin duu; Inheritance; Elective courseIV 目 录 摘要 ............................................................ I Abstract ........................................................... II 绪 论 ............................................................ 1 （一）乌日汀哆的历史渊源......................................... 1 （二）“乌日汀哆”的发展历程..................................... 1 （三）“乌日汀哆”的主要特征..................................... 2 1．“乌日汀哆”具有鲜明地域文化特征的独特演唱形式 ............ 2 2．“乌日汀哆”丰富多样的演唱技巧 ............................ 2 （四）乌日汀哆的相关研究......................................... 3 1．国外研究现状 .............................................. 3 2．国内研究现状 .............................................. 4 一、“乌日汀哆”在内蒙古地区的现代传承 .............................. 7 （一）“乌日汀哆”与现代内蒙古文化的融合......................... 7 1．社会进步拓展了内蒙古地区蒙古族音乐的传播空间与受众 ........ 7 2．时代发展给内蒙古地区“乌日汀哆”注入了新的内容 ............ 8 （二）“乌日汀哆”在内蒙古地区的传承............................. 8 1．传承人现状 ................................................ 9 2．专业院校传承人代表 ....................................... 10 二、乌日汀哆在相关区域传承的可行性 ................................. 11 （一）蒙古族在相关区域的生态分布及音乐文化传承现状.............. 11 1．自然因素对乌日汀哆发展的影响 ............................. 12 2．社会因素对乌日汀哆发展的影响 ............................. 14 （二）乌日汀哆专业在内蒙古艺术院校的教学现状.................... 15V 1．教师队伍来源多样化，教学形式多样化 ....................... 15 2．继承和传播相结合 ......................................... 16 3．站在非物质文化遗产的高度认识乌日汀哆的传承和保护 ......... 16 4．重视思想教育 ............................................. 18 （三）内蒙古大学艺术学院乌日汀哆专业对民族音乐教育改革的启示.... 18 1．调整乌日汀哆专业培养目标，实现人才培养目标 ............... 19 2．乌日汀哆专业人才培养体系的改革 ........................... 20 3．教学资源的改革 ........................................... 20 4．乌日汀哆引入相关区域高校音乐学专业的有效策略 ............. 21 三、对民族音乐传承与学校教育相结合的几点思考 ....................... 23 （一）教育与民族文化............................................ 23 （二）民族高等教育在民族文化传承中的作用........................ 23 （三）社会、学校、家庭多种传承途径的有机整合.................... 24 1．学校教育的重任 ........................................... 24 2．社会传承与家庭传承的作用 ................................. 25 结 论 ........................................................... 26