太湖地区民间信仰音乐研究

发布时间：2018-03-24 01:13

本文选题：信仰　切入点：信仰音乐　出处：《上海音乐学院》2004年博士论文

【摘要】：本篇论文探讨江苏省和浙江省交界处太湖地区的民间信仰音乐，以从民俗学的角度审视民间信仰音乐作为本文思考的命题，并以解释民俗与信仰音乐的关系、以及信仰音乐本体的特点作为本文论述的基础。研究的目的是想把自己的思考点从音乐本身换位出来，转到民俗的角度重新审视太湖地区的民间信仰音乐。以前对太湖地区的民间信仰音乐是个盲区，或被称作是禁区，所以音像资料和音乐文献书籍都很匮乏，，我的研究是想填补这个空白点。起初时，仪式、图腾、歌、舞、说、演都混为一体。后逐步分开，形成祭祀仪式、美术、歌唱、舞蹈、曲艺、戏曲，但几乎都要与音乐发生联系，有的是关系极为密切。趋利避邪、求吉祛灾、祈祥除害，这是太湖民间信仰民俗文化的根源思想，一切的祭祀仪式、礼俗仪式、庙会、村社、家赕等等，均是出自这种功利性的心理。民间信仰音乐不完全是一般意义上的音乐，不能用专业音乐的尺度去衡量它。民间信仰音乐是民俗的艺术展现，与民俗紧紧结合在一起成为一个不可分割的整体，是兼有民俗和艺术双重功能的传统形式，它总是以特定的方式——民俗意识的潜在规范，以大众欣赏、传播民俗的习惯渗入了以往音乐的历史锁链。一般民众的理解：祭祀仪式中的“歌唱”即是一种与神灵的“说话”形式，以旋律承载实词的呈现方式，诉说其“说话”的内容，甚至可以说旋律的本身就是信仰音乐中的“说话”。随着社会文化统一趋势，民间信仰音乐必然要发生衰落、改变、提高的过程，其中一部分融入艺术音乐，一部分依!}l存川，另一部分衰亡。届时，新的民间信仰音乐又将产生，进行新一轮的循环，永远依此规律发展。本篇论文分为[太湖地区民间信仰]、[太湖地区民间信仰音乐〕和[太湖地区民间信仰音乐的底蕴〕三大部分。并提供大量的实地拍摄的照片、录像和通过录音记录的乐谱。其中第一部分介绍了太湖地区特有的并且是大量的民间信仰;第丁二部分详尽地展现了太湖地区民问信仰音乐中的神歌、礼乐、‘改卷和俗舞;第三部分论述了太湖地区民间信仰音乐的生存土壤、特性功用和艺术审美。通过对太湖地区民间信仰音乐的研究，把目前还存在的真实的信仰仪式、音乐和背景展示出来，以便日后作进一步的研究。
[Abstract]:This paper discusses Jiangsu province and Zhejiang province at the junction of the Taihu area folk beliefs of music, music to examine the folk belief from the perspective of folklore as the thinking proposition, and to explain the relationship between folk music and faith, and faith based characteristics of music ontology as the discussion.
The purpose of the study is to point out their own thinking transposition of the music itself, to re-examine the folk beliefs in Taihu province folk music angle. Used to be a blind spot in the Taihu area folk beliefs or music, is called the forbidden area, so the audio-visual materials and music books are very scarce, my study is to fill this point blank.
At the beginning, ritual, totem, song, dance, speaking and acting were mixed into one. After that, they gradually separated into ritual ritual, art, singing, dancing, quyi, and traditional opera, but almost all had to be related to music, and some were very closely related.
The profit for Kyrgyzstan evil, dispel the disaster, praying lucky pesticides, this is the origin of folk belief in Taihu folk culture thought, ritual, all ceremonies, temple, village, home to pursue and so on, are from the utilitarian mentality.
The folk belief is not a general sense of music, music, music can not use professional scale to measure it. The folk belief is the folk music and folk art show, closely together become an integral whole, is to have dual function of folk and traditional art form, it is always in a specific potential specification the way of folk consciousness, to the public to enjoy, the dissemination of folk music history in the past habits into chains.
The general public understanding: the ritual of "singing" is a kind of divine and "speak" to form, melody bearing the presentation of content words, tell the "talking", and even can be said to the melody of the music itself is the belief of "speaking".
With the unified trend of social culture, folk belief music is bound to decline, change, and improve the process,
Part of it is integrated into the art of music, part of it!}l saves Sichuan, the other part decays. Then, new folk letters
The music will come up again, carry on a new round of circulation, and always develop according to this rule.
This paper is divided into [Taihu folk belief], [folk belief music in Taihu] and [Taihu land]
There are three parts of the folk belief music. And provide a large number of photos, videos and passage on the field.
A music record for recording.
The first part introduces the unique and a large number of folk beliefs in the Taihu region; part two is detailed.
In the third part, the third part discusses the song of the people's belief in music, the rites and music, the rewinding and the vulgar dance.
The subsistence soil, the characteristic function and the artistic aesthetic of the folk belief music in Taihu area.
Through the study of folk belief music in the Taihu area, the present true religious rites,
The background music and display, in order to make a further research on the day after.

【学位授予单位】：上海音乐学院
【学位级别】：博士
【学位授予年份】：2004
【分类号】：J607

【引证文献】