艺术人类学视角下的内蒙古二人台研究

发布时间：2018-07-10 09:18

本文选题：艺术人类学 + 二人台　；参考：《东北师范大学》2012年硕士论文

【摘要】：二人台是由蒙汉两个民族长期交流、文化之间的相互碰撞产生的艺术表演形式，是蒙汉两族文化融合的产物。它是流行于内蒙古自治区以及河北、陕西、山西等几个省区范围内的地方剧种。二人台艺术经过很长时间的历史发展，积累剧目近百余个。二人台集民歌、戏曲、说唱、民间歌舞、器乐等表演形式为一体，以枚、四胡、扬琴为伴奏乐器，是一种综合的民间艺术品种。二人台的音乐风格鲜明、富有地域色彩，主要活动在城乡的社会生活中。从艺术形式上看，内蒙古的二人台与东北的二人转相似，但是从历史角度看，二人台的存在已有将近160多年的历史。但是就是有着这样深厚文化底蕴的二人台音乐却没能够得到迅速的发展，甚至正面临着无人继承的尴尬局面。本文就是从艺术人类学的视角出发，把内蒙古的二人台音乐作为艺术人类学的个案研究对象，通过对二人台源流、音乐文化现象、发展的原因及保护传承等方面的研究，剖析二人台音乐在内蒙古的历史流变以及它受内蒙古地域文化影响在语言、服饰、曲牌上产生的变化，以及传承保护中有待于我们去解决的问题。全文由三个部分组成，第一部分的绪论里主要介绍了选题的理由、背景、研究的目的等，交代了论文主要研究的对象。第二部分的本论分为三个部分组成，首先文章开头概述了二人台音乐的历史渊源及称谓由来，通过二人台产生发展的流变，阐述二人台的发展过程。其次文章第二部分通过艺术人类学的视角研究二人台的音乐文化现象，了解它的民族性、民间性和艺术性，内蒙古文化特点对二人台的影响，以及二人台与内蒙古文化相融合从而得到发展的原因，通过二人台的音乐构成、唱腔、牌子曲、音乐特点等方面的研究，了解二人台音乐的形成和发展。最后文章的第三部分从对二人台实施保护的目的、已经取得的成果和现阶段存在的问题入手，解决二人台在现今社会发展所面临的问题，第三部分结论中综合前两部分，对二人台的研究作出艺术人类学视角下的总结，二人台的传统并没有丢失，虽然二人台的发展吸收了很多现代的表现形式，但是传统仍然是二人台身体流淌的血液。在二人台保护的措施上还存在这很多的问题，但是传统的艺术不能丢弃，二人台音乐的发展还需要我们更多地关注。
[Abstract]:The two-man stage is a form of artistic performance produced by the long-term exchange of Mongolian and Chinese nationalities and the collision of cultures, and it is the product of the fusion of Mongolian and Chinese cultures. It is popular in Inner Mongolia Autonomous region as well as Hebei, Shaanxi, Shanxi and other provinces within the scope of local drama. After a long period of historical development, the two-man-Taiwan art has accumulated more than 100 repertoire. With folk songs, operas, rappers, folk songs and dances, instrumental music and other performing forms, the two-person stage is a comprehensive folk art variety with Mei, Hu and yangqin as accompaniment instruments. Their musical style is bright, rich in regional color, mainly in urban and rural social life. In terms of artistic form, the Er-Ren stage in Inner Mongolia is similar to that in Northeast China, but from the historical point of view, it has existed for more than 160 years. However, the music of two people with such a profound cultural background has not been able to develop rapidly, and even is facing the awkward situation of no one inheriting it. From the perspective of artistic anthropology, this paper regards Er-Ren Tai music in Inner Mongolia as the case study object of art anthropology. Through the research on the origin of Er-Ren Taiwan, musical and cultural phenomena, the causes of development and the protection and inheritance, etc. This paper analyzes the historical evolution of Errentai music in Inner Mongolia and the changes in language, costume and music, and the problems that need to be solved in the process of inheritance and protection under the influence of Inner Mongolia regional culture. The first part of the introduction mainly introduces the reason, background, purpose of the research, and explains the main research object. The second part is divided into three parts. At the beginning of the article, it summarizes the historical origin and the origin of the appellation of Errentai music, and expounds the development process of Errentai through the evolution of the development of Errentai. Secondly, the second part of the article studies the musical and cultural phenomenon of Errentai from the perspective of artistic anthropology, and understands its nationality, folklore and artistry, and the influence of Inner Mongolia cultural characteristics on Errentai. And the reason that the two people station and Inner Mongolia culture merge to get the development, through the research of the music composition, singing, brand music, music characteristic of the two people station, understand the formation and development of the two person stage music. Finally, the third part of the article from the implementation of the purpose of the two-person station protection, has achieved results and existing problems at this stage, to solve the current social development of the two-person station facing problems, the third part of the conclusion of the first two parts, From the perspective of artistic anthropology, the research on Errentai is summarized. The tradition of Errentai is not lost. Although the development of Errentai absorbs a lot of modern forms of expression, tradition is still the blood flowing through the body of Errentai. There are still many problems in the protection of the two-person station, but the traditional art can not be discarded. The development of the two-person station music still needs us to pay more attention to.
【学位授予单位】：东北师范大学
【学位级别】：硕士
【学位授予年份】：2012
【分类号】：J825

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