中缅“象脚鼓”乐器文化比较研究

发布时间：2018-02-03 03:06

本文关键词： 傣族掸族象脚鼓乐器文化比较研究　出处：《中国音乐学院》2014年硕士论文　论文类型：学位论文

【摘要】：中国傣族与缅甸掸族是两个同源的跨界民族，两个民族都是由汉代百越中的一支滇越为发展源头，并在公元之初或1世纪时，从珠江西迁至中国云南省中部。公元8世纪一部分又逐步迁徙到缅甸地区繁衍生息。作为同源的跨界民族，傣族与掸族在生产、生活、信仰和文化等方面均有着紧密的血缘关系。从生产上看，两者都属于农耕民族，无论从我国傣族居住地，还是在缅甸掸族的居住区，都可以得到众多详实的田野依据。从生活上看，两者都喜食糯米，，女性着窄袖短衣和筒裙，头盘发髻、戴头巾，男性着无领对襟或大襟小袖衫，下穿长管裤，戴头巾；住的都是构造与风格极为相同的竹楼；两个民族都属傣泰语系，使用傣文，讲傣语①。从信仰上看，两者都信仰南传上座部佛教，尤其是掸族在缅甸地区的居住地，和尚、佛塔、佛寺遍布整个城市。从音乐上看，“象脚鼓”乐器文化的传播与流布更能体现出这两个跨界民族同根同源、血脉相连的密切关系。中国傣族与缅甸掸族作为同源的跨界民族，他们具有着相同的文化基因，其中，“象脚鼓”乐器文化是最具代表性的文化事项之一。因为，“象脚鼓”是两个民族共有的击奏膜鸣乐器，常用于民间节日活动和佛教仪式活动当中，并在悠久的发展历程中，深受两个跨界民族的共同喜爱，是两个跨界民族日常生活当中不可或缺的重要文化事项。笔者在对中缅“象脚鼓”文化研究的相关文献梳理时发现，有关中国傣族和缅甸掸族“象脚鼓”文化的比较研究到目前为止尚属空白，而在相关涉猎到“象脚鼓”乐器的研究文献中，更多的只是拘囿于各自民族范畴中乐器本体的描述。笔者在进行了大量的田野工作考察后认为：一、“象脚鼓”一词是局外人对傣族和掸族共有击奏膜鸣乐器名称的误读；二、两个跨界民族共有乐器“象脚鼓”的分类标准应从学术上予以共识性明确；三、对“象脚鼓”乐器的研究必须以乐器学的视角和民族音乐学的方法加以观照；四、对两个跨界民族的“象脚鼓”乐器文化应该从理论层面和实践的高度予以比较研究和实际应用。本文从乐器学视角，运用民族音乐学的方法，在梳理前人研究成果的基础上，结合大量中缅田野工作考察资料，试图从学术层面去系统解读中缅两个跨界民族“象脚鼓”乐器文化基因的异同，并认为两个跨界民族共有的“象脚鼓”乐器文化不仅具有共通的稳定性特征，更具有不同的变异性特征。共通的稳定性特征说明了两个跨界民族具有血脉相连的文化基因，不同的变异性特征说明，相同的文化在不同的时空中会发生与其文化背景相适宜的文化变迁。
[Abstract]:Dai nationality in China and Shan nationality in Myanmar are two cross-border ethnic groups of the same origin. Both ethnic groups were developed from Dian Yue, a branch of the hundred Yue in the Han Dynasty, and were developed in the beginning of AD or in 1th century. Moved from Pearl River west to the central Yunnan Province of China. In 8th century AD part of the gradual migration to Myanmar region reproduction. As a homologous cross-border ethnic group Dai and Shan in production and life. Belief and culture are closely related to each other. From the production point of view, both belong to the farming ethnic group, whether from the Dai residence in China, or in the residential area of the Shan ethnic group in Myanmar. From the point of view of life, both are fond of eating glutinous rice, women wear narrow sleeve short clothes and tube skirts, head bun, wearing headscarves, men wearing collarless cardigan or cardigan, under wear long pipe pants. Wearing a headscarf; They lived in bamboo buildings of the same structure and style; The two ethnic groups belong to the Dai and Thai languages, using the Dai language and speaking the Dai language. 1. From the perspective of faith, both of them believe in the Buddhism spread to the south, especially the residence of the Shan nationality in Myanmar, monks and pagodas. Buddhist temples spread all over the city. From a musical point of view, the spread and spread of the "elephant foot drum" musical instrument culture can reflect the close relationship between these two cross-border ethnic groups with the same roots and blood ties. Dai nationality in China and Shan nationality in Myanmar have the same cultural genes, among which the "elephant foot drum" musical instrument culture is one of the most representative cultural issues. "Elephant foot Drum" is a musical instrument common to the two ethnic groups, often used in folk festivals and Buddhist rituals, and in the long history of development, deeply loved by the two cross-border ethnic groups. It is an indispensable cultural issue in the daily life of two cross-border nationalities. The author finds that the comparative study on the "elephant foot drum" culture of Dai and Shan nationality in China and Myanmar is still blank so far when combing the literature about the culture of "elephant foot drum" between China and Myanmar. But in the related literature of "elephant foot drum" instruments, more than the description of the musical instruments confined in their respective ethnic category. The author has carried out a large number of field work to investigate the following: 1. The term "elephant foot drum" is a misinterpretation of the name of the Dai and Shan nationality musical instruments. Second, the classification criteria of "elephant foot drum", which are shared by two cross-border ethnic groups, should be clearly defined from the academic point of view; Third, the study of "elephant foot drum" musical instruments must be viewed from the perspective of musical instruments and ethnomusicology. Fourthly, the "elephant foot drum" musical instrument culture of the two cross-border nationalities should be compared and applied in theory and practice. In this paper, from the perspective of Musical instrument, using the ethnomusicology method, on the basis of combing the previous research results, combined with a large number of Sino-Myanmar fieldwork investigation data. This paper attempts to systematically interpret the similarities and differences of the genes of the "elephant foot drum" musical instrument between the two cross-border ethnic groups in China and Myanmar from the academic level, and thinks that the "elephant foot drum" musical instrument culture shared by the two cross-border nationalities not only has the common characteristics of stability. The common characteristics of stability show that the two cross-border ethnic groups have consanguineous cultural genes and different characteristics of variability. The same culture in different time and space will take place the appropriate cultural changes with its cultural background.
【学位授予单位】：中国音乐学院
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J63;J633.37

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