豫南皖西杠天神仪式音乐研究

发布时间：2018-07-02 12:02

本文选题：民间信仰 + 民间仪式　；参考：《福建师范大学》2009年博士论文

【摘要】： 杠天神仪式是豫南皖西民间的主要祭神形式,至今仍有“大祭”、“家祭”、“野祭”和“公祭”在民间活动;祭祀过程包括请神、祈神、送神的纯仪式部分,和酬神仪式的杠天神戏表演部分。本文从文化人类学,宗教学以及民族音乐学的学科角度,探讨豫南皖西民间仪式音乐的用乐原则,探寻音乐在仪式过程中的功能和作用,揭示杠天神仪式音乐研究的民族音乐学价值。第一章围绕杠天神仪式的概念、功能、历史和现状展开叙述,认为,杠天神仪式是中原民间多神信仰的表现形式。它源于当地祭祀舞蹈“灯出子”,是神师职业化、家族化的重要表现。其中,杠天神戏是以仪式为载体,以代言为表达方式,以神话人物为描写对象,以现实的善恶报应为表演内容,以歌舞唱白为表演手段,以祈福攘灾为目的的仪式戏曲,具有信仰、祭祀、仪式和表演四大功能,目前仍活跃在豫南皖西民间的信仰体系中。第二章从豫南皖西民间神灵谱系的分类入手,认为,豫南皖西民间属于以家神、祖先神和人祖神为核心的俗神信仰范畴,是原始思维的一种遗留,在民间产生着极强的互渗作用;它不仅是一种权力建构下的神圣符号体系,而且还具有结构化、体系化的行为特征,也是杠天神仪式的用乐基础。第三章记录了豫南皖西四种类型的杠天神仪式过程;揭示了神师、乐师和事主之间的各种关系,重点描述了神师和乐师的用乐方法、用乐过程,认为,杠天神仪式的用乐是根据仪式的规模和时间确定仪式的用乐范围,是以俗神为核心的仪式展演。第四章从“近-远”、“时-空”和“行-意”探讨杠天神仪式的用乐原则,认为,在仪式过程中,音乐成品受日常使用的影响,有着一般和特殊的含意区分;作为仪式用乐它有“定”的特质,作为戏曲用乐又多具“活”的属性;它在使用自有音乐的同时,吸收了其他种类的音乐成品,形成仪式用乐的“定-活”范式。第五章在结构主义理论基础上,视仪式为一部完整的音乐成品。认为,仪式展演本身具有艺术创造的性质,它不仅符合音乐的整体结构、段结构和腔、调结构三个要素,而且还符合声音把握和控制的一般原则,因而构成了一套自有的音乐结构原则。第六章杠天神仪式音乐研究是在民族音乐学学科理论指导下进行的个案研究,它不尽通过研究音乐来关照仪式的行为过程,同时它还可以采用跨学科的研究方法探讨仪式音乐的独特性,探索民间信仰的仪式行为在社会生活中的潜在意义。总之,杠天神仪式音乐是豫南皖西民间信仰体系中的重要组成部分,它以俗神信仰为核心,以当地的音乐素材为主要音声,构建了一个独特的地方性信仰系统。
[Abstract]:As the main form of worship among the people in the west of Anhui Province in southern Henan Province, there are still "great sacrifices", "family sacrifices", "wild sacrifices" and "public sacrifices" in folk activities. The sacrificial process includes the pure ritual of inviting God, praying for God, and sending God to God. And the ritual of the god of the bars of the performing part of the god. From the angle of cultural anthropology, religious education and ethnomusicology, this paper probes into the principle of using music in folk ritual music in the west of Anhui Province, and explores the function and function of music in the process of ceremony. It reveals the value of ethnomusicology in the study of the ritual music of the god of God. The first chapter focuses on the concept, function, history and present situation of the ritual of the god of the bars, and holds that the ritual of the god of the bars is the manifestation of the polytheistic belief of the people in the Central Plains. It originated from the local sacrificial dance "lantern out of the son", which is an important manifestation of the professionalization and familization of deities. Among them, Sang-Tianshen Opera is a ritual opera with ritual as its carrier, endorsements as its expression, mythical figures as its object of description, realistic retribution for good and evil as its performing content, singing, singing and singing as performing means, and praying for happiness and disaster as its purpose. It has four functions of belief, sacrifice, ceremony and performance, and is still active in the folk belief system in the west of southern Henan province. The second chapter starts with the classification of folk deities genealogy in the western part of Anhui province, and thinks that the folk people in the west part of Henan province belong to the category of common gods belief with the core of home god, ancestor god and human ancestor god, which is a kind of legacy of primitive thinking. It is not only a sacred symbol system under the construction of power, but also has the behavior characteristics of structure and systematization, and it is also the basis of the use of music in the ritual of the god of God. The third chapter records the four types of ritual processes of the gods in the west of Anhui Province in the south of Henan Province, reveals the various relationships among the gods, musicians and the subject, and focuses on describing the methods and the process of using music. According to the scale and time of the ritual, the use of music is determined by the scope of the ritual, and it is a ceremonial exhibition with the common gods as the core. The fourth chapter discusses the principle of using music from "near to far", "time-space" and "line-meaning", and holds that in the process of ceremony, the musical products are influenced by daily use and have general and special meanings. As a ritual music, it has the characteristics of "fixed", as the opera music has many "living" attributes, it uses its own music, at the same time, it absorbs other kinds of musical products, and forms the ritual music "fixed-live" paradigm. The fifth chapter regards ritual as a complete musical product on the basis of structuralism theory. It is believed that the ritual exhibition itself has the nature of artistic creation, which not only accords with the three elements of music, including the whole structure, the section structure and the cavity, but also accords with the general principles of sound control and control. Thus constitute a set of musical structure of its own principles. The sixth chapter is a case study under the guidance of ethnomusicology theory. It does not concern the behavior process of ritual by studying music. At the same time, it can also use interdisciplinary research methods to explore the uniqueness of ritual music, and explore the potential significance of ritual behavior of folk belief in social life. In a word, the ritual music is an important part of the folk belief system in the west of Anhui Province in the south of Henan Province. It takes the popular God belief as the core and the local music material as the main sound, and constructs a unique local belief system.
【学位授予单位】：福建师范大学
【学位级别】：博士
【学位授予年份】：2009
【分类号】：J607

【引证文献】