汾阳磕板秧歌调查研究

发布时间：2018-04-25 09:16

本文选题：汾阳磕板秧歌 + 唱腔　；参考：《山西大学》2010年硕士论文

【摘要】： 汾阳市位于山西省腹地,吕梁山东麓,太原盆地西沿。唐代大诗人杜牧的千古绝句：“借问酒家何处有,牧童遥指杏花村”,指的就是这块风水宝地。汾阳历史悠久,文化底蕴深厚。汾阳磕板秧歌是流传在汾阳和孝义一带的一个地方小剧种,它是从汾阳地秧歌里面派生出来的。汾阳地秧歌在长期的活动中,形成了以舞蹈为主的武场地秧歌和以戏曲为主的文场地秧歌。现在人们所说的地秧歌指的就是武场地秧歌,所谓文场地秧歌指的就是现在的汾阳磕板秧歌。它们已经自成体系,分别发展成为民间舞蹈和地方戏曲两个不同门类。本文以《中国戏曲音乐集成·山西卷》和《中国戏曲志·山西卷》为线索和参照,对流行在汾阳一带的汾阳磕板秧歌进行了近一年的田野调查,研究其发生、发展的过程,对汾阳磕板秧歌的唱腔、表演、唱词作了全面分析,以期作为《集成》的延续、补充和深入说明。汾阳磕板秧歌从民国初期到五十年代是最活跃的一段时间。当时活跃在汾阳和孝义两地的秧歌班不下二十个。而今坚持下来的仅仅剩下一家。受现代经济大潮的冲击,磕板秧歌越来越凋零。现在的状况是,看秧歌和闹秧歌的都是些上了岁数的老年人。年轻人对秧歌不感兴趣,很少有人愿意参加。由于新鲜血液得不到补充,汾阳磕板秧歌很难兴旺发达。本文采用了实地研究的方法,对汾阳磕板秧歌所流行的汾阳及周边城镇一带作了细致的搜集工作,在历时近一年的田野考察的基础上,共搜集到过街板唱词781首,还有有秧歌小戏、民间传说、故事、顺口溜等,总结了汾阳磕板秧歌的唱腔、表演、唱词、分类、艺术特点等。提出时至今日汾阳磕板秧歌仍停留在戏曲发展的初级阶段,从研究角度来看,它具有很高的历史价值和学术研究价值。在以往的关于汾阳磕板秧歌的研究多是一些关于唱腔、表演的概述,而笔者的这篇论文更系统的对汾阳磕板秧歌的唱腔、调式、表演等方面进行了全面分析。本文主要分为五个部分：一、汾阳磕板秧歌的研究背景二、汾阳磕板秧歌的音乐及其表演三、汾阳磕板秧歌的唱词四、汾阳磕板秧歌的功能与价值五、汾阳磕板秧歌的现状特点
[Abstract]:Fenyang City is located in the hinterland of Shanxi Province, the eastern foot of Luliangshan, the western edge of Taiyuan Basin. Tang Dynasty poet du Mu's quatrains: "by asking where the restaurant exists, the shepherd boy refers to the apricot village", referring to this scenic spot. Fenyang has a long history and profound cultural heritage. Fenyang kowang Yangge is spread in Fenyang and Xiaoyi around a local opera, it is derived from Fenyang Yangge inside. In the long-term activities of Yangko in Fenyang, the dance-based Yangko and the traditional opera-based Yangko were formed. Now people refer to the land Yangko refers to the site Yangko, the so-called cultural site Yangko refers to the present Fenyang kowang Yangko. They have developed into two different categories of folk dance and local opera. Based on the clue and reference of "the Chinese Opera Music Integration Shanxi Volume" and "the Chinese Opera Records Shanxi Volume", this paper has carried out a field investigation for nearly a year to study the process of occurrence and development of Fenyang kowang Yangko, which is popular in Fenyang area. This paper makes a comprehensive analysis on the singing, performance and lyric of Yangko in Fenyang kowangban, in order to continue, supplement and explain deeply as the "integration". Fenyang kowang Yangge from the early Republic of China to the 1950s is the most active period of time. At that time active in Fenyang and Xiaoyi Yangge classes no less than 20. There is only one remaining family that has persevered. By the impact of the modern economic tide, kowan Yangge more and more withered. The present situation is that the Yangko watching and Yangko are some of the elderly. Young people are not interested in Yangko and very few are willing to participate. As fresh blood can not be replenished, Fenyang kowang Yangge is very difficult to flourish. This paper adopts the method of field research to collect carefully Fenyang and its surrounding towns, which is popular in Fenyang kowangge institute. On the basis of field investigation for nearly one year, 781 lyrics of street crossing board were collected. There are Yangko small drama, folklore, stories, and so on, summed up Fenyang kowan Yangko singing, performance, singing words, classification, artistic characteristics. It is put forward that even now Fenyang kowan Yangge is still in the primary stage of opera development. From the point of view of research, it has high historical value and academic research value. In the past about Fenyang kowang Yangge research is more about some singing, performance overview, and the author of this paper more systematic to Fenyang kowang Yangge singing, mode, performance and other aspects of a comprehensive analysis. This paper is divided into five parts: First, the research background of Fenyang kowangyang Yangko Second, the music and performance of Fenyang kowang Yangge Three, Fenyang kowangban Yangge singing words Fourth, the function and value of Fenyang kowang Yangge Fifth, the present situation characteristic of Fenyang kowangyang Yangge
【学位授予单位】：山西大学
【学位级别】：硕士
【学位授予年份】：2010
【分类号】：J825

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