科尔沁蒙古族萨满仪式音声的调查与研究

发布时间：2018-05-20 22:35

本文选题：科尔沁 + 萨满　；参考：《内蒙古师范大学》2011年硕士论文

【摘要】：本文以科尔沁左翼中旗架玛吐镇的钱玉兰萨满及其弟子为主要研究对象,通过考察和参与他们所主持的各种萨满仪式,将萨满音乐还归到它得以展示的仪式语境当中,研究音乐本体的同时,对萨满仪式所牵引出来的各种问题进行探讨。本文对研究对象——钱玉兰及其徒弟,进行居住式田野调查和跟踪式田野调查,以此来获得第一手资料以及鲜活的田野体验,将论述建立在扎实的田野调查基础上,并把研究对象放置在它所赖以生存的文化背景当中,对科尔沁蒙古族萨满进行动态研究,通过“音乐——人——仪式”的三维互动结构的整体观照,探讨音乐在仪式中的意义和功能及作为仪式主体的人在仪式中的能动性。中国文化认同的一个主要的标志是“信仰体系”。信仰体系由“思想”范畴的“信仰”和属“行为”范畴的“仪式”组成。仪式则是信仰的实践范畴。笔者通过萨满仪式个案研究,对钱玉兰所主持的各类仪式进行描述的同时,对仪式之间进行比较,从它们的共同点入手,研究仪式音乐表演模式和仪式中的音乐模式。科尔沁萨满在仪式中所用的法器,主要以鼓和铝为主,在仪式过程中是以给神歌或萨满舞蹈伴奏的形式进行演奏的,本文参考前有文献中的萨满装束及萨满器具的相关研究,通过研究萨满仪式的同时,对仪式中所运用的器物进行解释的同时对其象征符号意义进行研究。萨满是萨满文化中的主角,萨满仪式是通过萨满本身才得以进行,在萨满教中,所有的仪式进行和传承都离不开萨满,萨满的传承,对于萨满教的保留、延续具有十分重要的意义。本文通过对萨满师徒在仪式内外的师承关系、社会关系进行角色分类,从而对萨满传承方式、传承渠道等问题进行分析和研究。
[Abstract]:This paper takes Qian Yulan shaman and his disciples from Keerqin Left-flank Middle Banner and Matu Town as the main research objects. By investigating and participating in the various shaman ceremonies they conducted, the shaman music is also classified into the ceremonial context in which it can be displayed. While studying music Noumenon, this paper probes into various problems drawn out by shaman ritual. In this paper, Qian Yulan and his apprentice are studied in the form of residential field investigation and tracking field investigation, so as to obtain first-hand information and fresh field experience, which will be discussed on the basis of solid field investigation. And put the research object in the cultural background on which it depends, and carry on the dynamic research to the Horqin Mongolian shaman, through the whole reflection of the three-dimensional interactive structure of "Music-Human-ritual". This paper discusses the significance and function of music in ritual and the initiative of people as the subject of ritual. One of the main signs of Chinese cultural identity is the belief system. Belief system consists of "belief" in "thought" category and "ritual" in "behavior" category. Ritual is the practice category of faith. Through the Shaman ritual case study, the author describes all kinds of ceremonies that Qian Yulan presided over, and compares the rituals, starting with their common points, studies the ritual music performance model and the ritual music mode. The instruments used by Horqin shaman in the ceremony are mainly drum and aluminum, and in the course of the ceremony, they are played in the form of accompaniment to the divine song or shaman dance. This article refers to the relevant research on shamans and shamans in the literature before this article. At the same time, the symbolic meaning of the artifacts used in the ceremony is also studied by studying the shaman ritual while explaining the utensils used in the ceremony. Shaman is the protagonist of shaman culture. Shamanism is carried out through shamanism itself. In shamanism, all rituals are carried out and passed on without shamanism. Shamanism is preserved by shamanism. Continuity is of great significance. This paper analyzes and studies the Shaman inheritance mode and channel by classifying the roles of the teachers and disciples inside and outside the ceremony and the social relations.
【学位授予单位】：内蒙古师范大学
【学位级别】：硕士
【学位授予年份】：2011
【分类号】：J607

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