河南沁阳汉族唢呐与大理洱源白族唢呐的对比研究

发布时间：2018-02-16 01:21

本文关键词： 汉族唢呐白族唢呐对比传承　出处：《大理大学》2017年硕士论文　论文类型：学位论文

【摘要】：沁阳汉族唢呐和洱源白族唢呐都代表了当地唢呐艺术的发展水平,具有标杆性意义。两者同是唢呐艺术之乡,在唢呐艺术发展方面既有共性又有个性,且具有代表性。本文以河南沁阳汉族唢呐和大理洱源白族唢呐为研究对象,以艺术人类学为理论支撑,对河南沁阳汉族地区和大理洱源白族地区的唢呐艺术开展田野调查和音乐分析,来进行包括音乐的形态结构,音乐的发生主体及其社会组织等多方因素的对比探究,对同是唢呐艺术之乡的河南沁阳和大理洱源而产生的不同的唢呐音乐及其行为做出解释。第一章:对中国唢呐艺术的发展脉络进行梳理,并阐明两地唢呐艺术的发展现状。第二章:从音乐本体入手,对比分析沁阳汉族和洱源白族唢呐艺术,阐明这些差异对两地唢呐艺术发展的利弊,并说明唢呐艺术自进入中国,由中原传至大理后,洱源白族唢呐与沁阳汉族唢呐之间并不是单方面的消极适应,而是以一种“对话”的形式加深联系,并衍生出了新的“文化符号”。第三章:深层次对比探究两地唢呐艺术与当地社会文化的关系,从文化空间、礼俗活动、宗教信仰和审美取向四个方面进行解释。第四章:通过前文层层的对比探究,在说明沁阳汉族和洱源白族唢呐的传承价值,分析其传承存在的问题之后,笔者认为两地唢呐艺术的传承离不开“文化自觉”,“文化持有者”要在传承中获得“文化认同”,建立“文化自信”,最终实现高度的“文化自觉”。同时为两地唢呐艺术的传承与发展提出具体建议。唢呐艺术在当今文化多元化、经济全球化、审美时尚化的趋势下,作为非物质文化遗产的唢呐艺术的传播严重受限,做好唢呐艺术的传承与保护就显得格外重要。如何在这种趋势下,使得唢呐艺术在原有的自然与文化空间仍能激流勇进,熠熠生辉,亟需进行探讨。
[Abstract]:The suona of the Han nationality of Qinyang and the suona of the Bai nationality of Eryuan both represent the development level of the local suona art and have the significance of benchmarking. Both are the hometown of the suona art, and they have both commonness and individuality in the development of suona art. This paper takes the suona of Han nationality in Qinyang, Henan Province and the Bai suona of Eryuan in Dali as the research object, and takes the artistic anthropology as the theoretical support. The field investigation and music analysis of suona art in the Han nationality area of Qinyang and the Bai nationality area in Dali Eryuan, Henan Province, were carried out to make a comparative study of various factors, including the shape and structure of music, the main body of music and its social organization, etc. This paper explains the different suona music and its behavior produced in Qinyang and Eryuan of Dali in Henan Province, which is also the hometown of suona art. Chapter one: combing the development of suona art in China. The second chapter: from the music Noumenon, comparative analysis of the Han and Eryuan Bai suona art, to clarify the advantages and disadvantages of these differences to the development of suona art in the two places, and to explain the suona art from the entry into China, After transmission from the Central Plains to Dali, the relationship between the Bai suona and the Han suona in Eryuan and Qinyang was not a unilateral negative adaptation, but rather deepened in the form of a "dialogue". And derived a new "cultural symbol". Chapter three: deep level comparative study of the relationship between suona art and local social culture, from the cultural space, ritual activities, Chapter 4th: after explaining the inheritance value of the Han and Eryuan Bai suona in Qinyang and Eryuan, through the comparison and exploration of the previous layers, the author analyzes the problems existing in the inheritance. The author thinks that the inheritance of suona art between the two places can not be separated from "cultural consciousness", "cultural holder" should acquire "cultural identity" in inheritance, establish "cultural self-confidence", and finally realize "cultural consciousness" in the end. At the same time, it is the suona art of both places. Specific suggestions on the inheritance and development of suona art are put forward. Suona art is diversified in today's culture. Under the trend of economic globalization and aesthetic fashion, the transmission of suona art, as an intangible cultural heritage, is seriously restricted, so it is particularly important to do a good job in the inheritance and protection of suona art. Suona art in the original natural and cultural space can still rush forward, shine, need to be discussed.
【学位授予单位】：大理大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J632.14

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