河南舞钢轧筝音乐文化考察报告
发布时间：2018-07-28 11:02
【摘要】：本文研究的“轧筝”原是唐代出现的新型乐器，它虽名为“筝”，实际却是拉弦乐器，后来在整个东亚有广泛的流传，舞钢“轧筝”的存在，证明了古代音乐传播的发展与辉煌。本文正是以“舞钢轧筝”为基本的研究对象，以此为中心，并将其放置在整个东亚音乐的视野中，来进行考察，同时从理论上进入历史视野，采用了王国维先生提出的“二重证据法”，来进行立体的考察。一方面从古代的历史文献出发，考察有关轧筝记载的文字考释，图像特征，音乐功能等内容；另一方面从出土的文物出发，注重考古报告对轧筝的记载与描述，结合音乐图像学的方法，对舞钢轧筝与山西南北两处的轧筝，以及山东轧筝、福建轧筝、朝鲜日本轧筝进行了比较，确立了舞钢轧筝的归属。此外，结合音乐社会学的考察，笔者梳理了乐人的人口流动带来的乐器变异，考察舞钢轧筝的来源，基本上把轧筝定位于山西南部，确定了舞钢轧筝的物质来源。 从历史维度来讲，本文通过对古代文献的检索，结合当代学者的研究成果，将舞钢轧筝的生成和来源，放入整个音乐史的领域，考察了“筝”、“轧筝”名称的来源以及，它们与整个“弓弦乐器”、“弹拨乐器”的关联，来梳理了“轧筝”的名称发展的历史过程。 就其形制来讲，本文以音乐图像学、音乐考古学为基本的方法，结合山西等地出土的“轧筝”文物，将其与“舞钢轧筝”进行对比，来寻找舞钢轧筝的归属，，同时又将舞钢轧筝与现存的山东、河北、广西、韩国、日本等地的轧筝等相关的近亲乐器进行横向比较，从音乐的乐器形态来定位舞钢轧筝的归属问题。 音乐的传承是以乐人为中心的，就音乐学来讲，民族音乐学和音乐人类学是研究民间音乐文化的重要理论武器，笔者正是在以音乐学研究为基本的前提下，从民族音乐学的田野考察出发，通过社会学和民俗学的方法对河南省舞钢县的轧筝音乐文化活动进行全面的实地考察，通过对舞钢轧筝传谱，乐人的演奏进行采访、录制，通过音乐形态的本体，来考察舞钢轧筝的音乐特征与具体属性。 就音乐的形态而言，笔者通过对舞钢轧筝的具体考察，笔者分析了它所属的“辕门大调曲子”，其实是河南“大调曲子”的分支，在音乐的形态上、乐器乐人的组合形态上、音乐的曲目内容上，基本上都是与河南省整体的“大调曲子”相重合的。所以笔者认为，舞钢轧筝的声音形态（音乐形态）已经基本脱离了它的来源地山西音乐的影响，主动融入到了河南音乐当中，发生了根本上的变异。 音乐文化是人类文化的一个重要分支，它伴随着人类社会的发展历程，要考察音乐文化的文化功能，则必须将音乐放置于整个社会文化之中，考察它的文化功能与意义。笔者正是从音乐的文化功能出发，通过对舞钢轧筝的传承方式、演奏曲目随着时代发展的创新与变化，并回到历史当中，分析了舞钢轧筝的文化功能，它在古代具备着高台说教的教育功能，以及在新时代的发展中，融入了新时代的文化特质，实现了文化功能的继承和对新时代讴歌的特点。本文通过历史学、音乐学、文化学的方法来整体定位和研究舞钢轧筝的音乐问题。
[Abstract]:In this paper, "Zheng" was originally a new musical instrument that appeared in the Tang Dynasty. Although it was called "Zheng", it was actually a string instrument, and it was widely spread throughout East Asia. The existence of "Zheng" in Wugang proved the development and brilliance of the spread of ancient music. This article is based on "Wugang Zheng" as the basic research object, taking this as the center, and It is placed in the view of the whole East Asian music to investigate, and at the same time, from the theoretical point of view, the "double evidence law" proposed by Mr. Wang Guowei is used to conduct a three-dimensional investigation. On the one hand, from the unearthed cultural relics, we pay attention to the record and description of the archeological report on the zither, and combine the methods of music iconography, compare the zither Wugang Zheng and the two parts of Shanxi, as well as Shandong Zheng, Fujian Zheng, and Korean zither in Japan, and establish the ownership of the Wugang zither. The variation of musical instruments brought by the people's population flow was combed, and the origin of Wugang Zheng was investigated. The zither was basically located in the southwest of the mountain, and the material source of Wugang Zheng was determined.
From the historical point of view, through the retrieval of ancient literature and the research results of contemporary scholars, the generation and source of Wugang Zheng is put into the field of the whole history of music, and the origin of "Zheng" and "Zheng" name are investigated, and they are related to the whole "bow string" and "plucked instrument" to comb the "Zheng". The historical process of the development of the name.
As far as its form is concerned, this article, with the basic method of musical iconology and musical archaeology, combines the "Zheng" antiquities unearthed in Shanxi and other places, and compares it with "Wugang Zheng" to find the ownership of Wugang zither, and at the same time, the guzheng and other close relatives in Wugang, Shandong, Hebei, Guangxi, Korea and Japan. Horizontal comparison of musical instruments, from the musical instrument form to locate the ownership of Wugang guzheng.
The inheritance of music is centered on the music. In terms of musicology, ethnomusicology and musical anthropology are important theoretical weapons for the study of folk music culture. On the basis of the study of musicology, the author, starting from the field investigation of ethnomusicology, makes the rolling of Wugang County in Henan province by means of social science and folklore. The music cultural activities of the Zheng are carried out in an all-round way. Through the interview and recording of Wugang Zheng's zither spectrum, music player's performance, and through the noumenon of musical form, the music features and specific properties of Wugang Zheng are investigated.
As far as the form of music is concerned, the author, through the specific investigation of the Wugang zither, analyzes the "Tunes" which it belongs to. In fact, it is the branch of the "tune of the major" in Henan. In the form of music, the composition of musical instruments and the content of the music is basically the "tune of the major" in the whole of Henan. So the author thinks that the sound form (musical form) of Wugang Zheng has basically separated from the influence of Shanxi music from its source, and has taken the initiative into the music of Henan and has undergone fundamental variation.
Music culture is an important branch of human culture. It is accompanied by the development of human society. To examine the cultural function of music culture, it must be placed in the whole social culture to examine its cultural function and significance. The author is starting from the cultural work of music and playing the inheritance mode of Wugang Zheng. With the innovation and change of the times and back to the history, the repertoire analyses the cultural function of Wugang Zheng. It has the educational function of high platform sermon in ancient times, and in the development of the new era, it integrates the cultural characteristics of the new era, realizes the successor of the cultural function and eulogize the new era. Musicology and culturology approach to locate and study the music problem of Wugang Zheng Zheng.
【学位授予单位】：河南师范大学
【学位级别】：硕士
【学位授予年份】：2012
【分类号】：J609.2
本文编号：2149910
[Abstract]:In this paper, "Zheng" was originally a new musical instrument that appeared in the Tang Dynasty. Although it was called "Zheng", it was actually a string instrument, and it was widely spread throughout East Asia. The existence of "Zheng" in Wugang proved the development and brilliance of the spread of ancient music. This article is based on "Wugang Zheng" as the basic research object, taking this as the center, and It is placed in the view of the whole East Asian music to investigate, and at the same time, from the theoretical point of view, the "double evidence law" proposed by Mr. Wang Guowei is used to conduct a three-dimensional investigation. On the one hand, from the unearthed cultural relics, we pay attention to the record and description of the archeological report on the zither, and combine the methods of music iconography, compare the zither Wugang Zheng and the two parts of Shanxi, as well as Shandong Zheng, Fujian Zheng, and Korean zither in Japan, and establish the ownership of the Wugang zither. The variation of musical instruments brought by the people's population flow was combed, and the origin of Wugang Zheng was investigated. The zither was basically located in the southwest of the mountain, and the material source of Wugang Zheng was determined.
From the historical point of view, through the retrieval of ancient literature and the research results of contemporary scholars, the generation and source of Wugang Zheng is put into the field of the whole history of music, and the origin of "Zheng" and "Zheng" name are investigated, and they are related to the whole "bow string" and "plucked instrument" to comb the "Zheng". The historical process of the development of the name.
As far as its form is concerned, this article, with the basic method of musical iconology and musical archaeology, combines the "Zheng" antiquities unearthed in Shanxi and other places, and compares it with "Wugang Zheng" to find the ownership of Wugang zither, and at the same time, the guzheng and other close relatives in Wugang, Shandong, Hebei, Guangxi, Korea and Japan. Horizontal comparison of musical instruments, from the musical instrument form to locate the ownership of Wugang guzheng.
The inheritance of music is centered on the music. In terms of musicology, ethnomusicology and musical anthropology are important theoretical weapons for the study of folk music culture. On the basis of the study of musicology, the author, starting from the field investigation of ethnomusicology, makes the rolling of Wugang County in Henan province by means of social science and folklore. The music cultural activities of the Zheng are carried out in an all-round way. Through the interview and recording of Wugang Zheng's zither spectrum, music player's performance, and through the noumenon of musical form, the music features and specific properties of Wugang Zheng are investigated.
As far as the form of music is concerned, the author, through the specific investigation of the Wugang zither, analyzes the "Tunes" which it belongs to. In fact, it is the branch of the "tune of the major" in Henan. In the form of music, the composition of musical instruments and the content of the music is basically the "tune of the major" in the whole of Henan. So the author thinks that the sound form (musical form) of Wugang Zheng has basically separated from the influence of Shanxi music from its source, and has taken the initiative into the music of Henan and has undergone fundamental variation.
Music culture is an important branch of human culture. It is accompanied by the development of human society. To examine the cultural function of music culture, it must be placed in the whole social culture to examine its cultural function and significance. The author is starting from the cultural work of music and playing the inheritance mode of Wugang Zheng. With the innovation and change of the times and back to the history, the repertoire analyses the cultural function of Wugang Zheng. It has the educational function of high platform sermon in ancient times, and in the development of the new era, it integrates the cultural characteristics of the new era, realizes the successor of the cultural function and eulogize the new era. Musicology and culturology approach to locate and study the music problem of Wugang Zheng Zheng.
【学位授予单位】：河南师范大学
【学位级别】：硕士
【学位授予年份】：2012
【分类号】：J609.2
【参考文献】
相关期刊论文 前4条
1 高歌;;河南省舞钢市郭氏轧筝实地调查报告[J];东方艺术;2009年S2期
2 汤亚汀;西方民族音乐学之乐器学[J];音乐研究;2000年01期
3 项阳;山西省几处轧筝的资料分析[J];乐器;1995年01期
4 梁勉;;一幅唐墓壁画中的轧筝考[J];文博;2011年03期
本文编号：2149910
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