吴语叙事山歌演唱传统研究

发布时间：2018-05-25 02:26

本文选题：吴语叙事山歌 + 演唱传统　；参考：《华东师范大学》2004年博士论文

【摘要】：吴语叙事山歌是指流行于吴语地区民间、用吴方言演唱的，有比较完整的故事情节、有两个以上人物出场的韵文作品。根据篇幅长短，可分为短篇、中篇和长篇。上世纪八十年代初，随着《五姑娘》的公开发表以及大量叙事山歌的相继搜集整理，长篇吴语叙事山歌在学界引起了轰动，也曾发生过一场争论，有人认为这是“伟大的发现”，打破了汉族无长篇叙事诗的定论，也有人对它的真实性表示质疑，仁者见仁，智者见智。进入九十年代中期以后，因为中国民间文学界热点转向民俗学研究，对长篇吴语叙事山歌的研究也转入低谷，但事实上仍有许多问题没有得到真正的解决。本文从吴语叙事山歌的演唱传统出发，以田野调查的第一手资料为基础，结合文本分析，力求深入到它的“本体世界”之中，探求它的传承、编创规律，，给它以合理的定位。本文共分七章。内容上大致可分为三个部分：第一章主要是吴语山歌、吴语叙事山歌发展史、搜集整理史、学术史的回顾，是一种学术上的梳理；第二、三章属第二部分，是对吴语叙事山歌基本情况的分析和判断，根据现已发掘的三十多首中长篇叙事山歌，分析它的主题类型、地域分布特征；从民间文化生态环境的角度探讨其生成的各种内外因素；第四、五、六、七章属第三部分，也是本文的重点。主要探讨叙事山歌是在怎样的语境中演唱的，演唱的三种典型形态及其特点和功能，演唱传统中逐渐形成的各种叙事类型套式，长期的山歌演唱传统是如何模塑一代又一代叙事山歌歌手的，他们具有哪些共同的特点，歌手是如何传承的，歌手在学唱的过程中有哪些技巧，他们是如何在演唱过程中采用“调山歌”手法将各种现成的套式巧妙地运用于叙事山歌的编创活动的等等。通过上述初步研究，我认为吴语叙事山歌是吴语地区山歌演唱传统发展的必然产物，是在短山歌基础上逐渐丰满、发展起来的，长期以来形成的丰富的、各个层次的套式，为歌手编创长篇叙事山歌积累了丰富的“材料”；山歌(包括叙事山歌)演唱是旧时吴语地区民众生活的有机组成部分，它时刻伴随着人们的生产、生活活动，是人们最主要的精神娱乐方式，同时也是他们思想情感的集中体现；吴语叙事山歌是优秀歌手运用“调山歌”的手法编创而成的，它从来没有固定的文本，一次演唱过程结束就标志着一次编创的完成，由于一次连贯演唱的机会较少，大多数情况下只能一套一套分时段演唱，每“套”可以单独唱，也可以“连牢唱”，这种演唱习惯形成了其结构松散、弹性大、生长点多的特点。总之，吴语叙事山歌是一种具有吴语文化特色的自成体系的活态的口头叙事诗。
[Abstract]:The narrative folk songs of Wu dialect are popular folk songs in Wu dialect. They have relatively complete story plot and more than two characters appear in rhyme works. According to the length of space, can be divided into short, medium and long. In the early eighties of the last century, with the publication of "five Girls" and the collection and arrangement of a large number of narrative folk songs, the long Wu narrative folk songs caused a sensation in the academic circles, and there was also a debate. Some people think this is a "great discovery", which breaks the conclusion of the Han nationality without long narrative poetry, others question its authenticity. After entering the middle of 1990s, because the popular research of Chinese folk literature turned to folklore, the research on the long Wuyu narrative folk songs also turned to a low point, but in fact, there are still many problems that have not been really solved. Starting from the singing tradition of Wu language narrative folk songs, based on the firsthand data of field investigation and text analysis, this paper tries to go deep into its "Noumenon World", explore its inheritance, compile rules, and give it a reasonable orientation. This paper is divided into seven chapters. The content can be roughly divided into three parts: the first chapter is mainly Wu folk songs, the development history of Wu narrative folk songs, the collection and arrangement of history, the review of academic history, is an academic combing; second, three chapters belong to the second part. It is the analysis and judgment of the basic situation of Wu language narrative folk songs, according to the more than 30 long narrative folk songs that have been excavated, it analyzes its theme types and regional distribution characteristics. From the point of view of folk culture ecological environment, this paper discusses the various internal and external factors of its formation; the fourth, fifth, sixth and seventh chapters belong to the third part, which is also the focus of this paper. This paper mainly discusses the context in which narrative folk songs are sung, the three typical forms of singing and their characteristics and functions, and the forms of narrative styles gradually formed in the singing tradition. How has the long tradition of folk song singing molded generation after generation of narrative folk singers, what common characteristics they have, how the singers have passed on, and what skills the singers have in the process of learning to sing. How do they use "tune folk songs" in the singing process to skillfully apply all kinds of ready-made patterns to the creation of narrative folk songs and so on. Through the above preliminary study, I believe that the narrative folk songs of Wu dialect are the inevitable products of the traditional development of folk songs singing in Wu dialect areas, and are gradually full and developed on the basis of short folk songs. A rich "material" has been accumulated for the creation of long narrative folk songs for singers. Singing folk songs (including narrative folk songs) is an organic part of the life of the people in the old Wu dialect area, and it is always accompanied by people's production and life activities. It is the most important form of spiritual entertainment for people, and it is also a concentrated embodiment of their thoughts and feelings. The narrative folk songs of Wu dialect were created by excellent singers using the technique of "tune the folk songs," and they have never had a fixed text. The end of a singing process marks the completion of a compilation and creation. As there are fewer opportunities for a coherent performance, in most cases only one set of singing periods can be performed, each "set" can be sung individually or "even in prison." This singing habit forms its structure loosely, the elasticity is big, the growth point is many characteristic. In a word, the narrative folk song of Wu dialect is a kind of oral narrative poem with unique cultural characteristics of Wu dialect.
【学位授予单位】：华东师范大学
【学位级别】：博士
【学位授予年份】：2004
【分类号】：J607

【引证文献】