回族宴席曲中的“女性”特征初探
发布时间:2018-05-20 20:52
本文选题:回族 + 宴席曲 ; 参考:《中央民族大学》2011年硕士论文
【摘要】:宴席曲是在西北回族中长期流传的,集歌舞、说唱及文学艺术于一体的,具有浓郁地域特色与乡土气息的民俗小曲。从宴席曲所表现的文化形态来看,宴席曲包含着丰富的历史、地理、文化、社会等的信息及穆斯林群众鲜活厚实的生活状态,并反映在宴席曲本身的仪式表演状态及其所承载的民俗事象上。学者们从民俗学、音乐学、民间文艺学等多种角度对回族宴席曲进行探讨,取得了丰硕的成果,并收集和创作了许多优秀的宴席曲,但对宴席曲这种从创作者到传承者、从创作内容到传承形式都具有明显女性特征的歌谣在妇女生活中的作用研究不够。本文在前人研究的基础上,从女性视角出发,根据宴席曲文本和实地调查资料,考察宴席曲在回族妇女生活中的地位和作用,从而揭示回族宴席曲中的女性主义特征。 本文综合运用民族音乐学、社会心理学、女性主义学和民俗学等学科的理论和方法,以介绍回族宴席曲的概况及其历史渊源为序幕,对回族宴席曲的音乐形态进行分析,包括对回族宴席曲的内容、演唱形式、表演程序及其音乐特征的分析,展现其独特的艺术魅力。探究回族宴席曲所具有的女性特征是整篇文章的核心。 全文共分为四个部分,由绪论和三个章节组成。绪论中主要介绍了本课题研究的缘由,选题角度确立的原因,选择该论文命题的价值和意义,并对前人的相关研究成果予以综述。 第一章,回族婚礼习俗中的宴席与宴席曲,系统地阐述了回族的婚姻宴席习俗和对回族宴席曲的概括性描述。第一部分从对回族婚姻观及婚礼仪式的描述,从而揭示出回族宴席曲在回族人民生活中的重要性。第二部分着重从回族宴席曲的分类、沿革和表现形式三个方面对其进行概括性描述。 第二章,回族宴席曲中的“女性”特征表现。本章第一部分首先例举了具有女性特征代表意义的回族民间音乐中的内容,如花儿、回族民间叙事曲、民间乐器等作为理论的补充,充分说明回族民间音乐文化中的女性特征表现意义。第二、三部分则分别从回族宴席曲的音乐和最能够反映文化信息载体的宴席曲歌词入手,分析出回族宴席曲的女性特征。第四部分总结了回族宴席曲中“女性”特征表现,继而又从演出场合和传承模式两方面阐述了回族宴席曲在当今社会中的发展模式和新时代宴席曲中女性特征。 第三章,回族宴席曲中“女性”特征形成的原因及文化背景,分别从外因、内因和文化背景几方面来阐述。外因包括回族宴席曲流传区域的自然环境,内因包括宗教意识和伦理观念。文化背景则是从回族传统文化与汉族传统文化在女性观上的认同和契合点为依据进行阐述。本文希望以新的视角和表述方式,对回族宴席曲的女性特征做出客观地描述和分析,以此来说明传统社会性别观念对女性的影响。
[Abstract]:The banquet music, which has been circulated in the Northwest Hui nationality for a long time, combines singing and dancing, rap and literature and art in one, with a rich regional and local flavor of folk music. From the cultural form of the banquet music, the banquet music contains the information of rich history, geography, culture, society and so on, and the vivid and thick living state of the Muslims. It also reflects on the state of the ceremonial performance of the banquet song itself and its folklore events. Scholars have explored the Hui banquet music from various angles, such as folklore, musicology and folk literature and art, and have achieved fruitful achievements, and collected and created many excellent banquet songs, but the banquet music from the Creator to the inheritor, from the creation to the inheritor. On the basis of previous studies, this paper, on the basis of previous studies, examines the status and role of banquet music in the life of Hui women on the basis of previous studies, from the perspective of women, according to the text of banquet music and field survey data, so as to reveal the female owners in the Hui banquet music. The character of righteousness.
This paper comprehensively uses the theories and methods of ethnic musicology, social psychology, feminism and folklore to introduce the general situation and historical origins of the Hui banquet music as the prelude to the analysis of the musical forms of the Hui banquet music, including the analysis of the contents, singing forms, performing procedures and musical features of the Hui banquet songs. To demonstrate its unique artistic charm, exploring the female characteristics of Hui banquet songs is the core of the whole article.
The full text is divided into four parts, which consists of the introduction and three chapters. The introduction mainly introduces the reason of the research, the reasons for the selection of the topic, the value and significance of the thesis, and the related research achievements of the predecessors.
The first chapter, the banquet and banquet music of the Hui wedding customs, systematically expounds the customs of the Hui's marriage banquet and the general description of the Hui banquet. The first part reveals the importance of the Hui banquet in the life of the Hui people. The second part focuses on the Hui banquet music. The classification, evolution and manifestation of three aspects of its general description.
The second chapter, the characteristics of the "women" in the Hui banquet music. The first part of this chapter first exemplifies the content of the folk music of the Hui nationality with the feminine characteristics, such as the flowers, the folk songs of the Hui nationality, the folk instruments and so on as a supplement of the theory, which fully illustrates the feminine characteristics in the music culture among the Hui people. Second, third The part analyzes the female characteristics of Hui banquet music from the music of Hui banquet music and the most capable of reflecting the cultural information carrier. The fourth part summarizes the characteristics of the "women" in the Hui banquet music, and then expounds the Hui banquet music in the present society from the two aspects of the performance and the inheritance pattern. The development mode and the female characteristics in the new era banquet music.
The third chapter, the causes and cultural background of the "female" characteristics in the Hui banquet music, respectively from the external cause, internal cause and cultural background. The external cause includes the natural environment of the Hui banquet music, including the religious consciousness and the ethical concept. The cultural background is from the traditional culture of the Hui nationality and the Han traditional culture in the female. This article is to describe and analyze the female characteristics of the Hui banquet music objectively and to explain the influence of the traditional social gender concept on women.
【学位授予单位】:中央民族大学
【学位级别】:硕士
【学位授予年份】:2011
【分类号】:J607
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