越南顺化琴歌的研究

发布时间：2018-03-23 16:31

  本文选题：越南顺化琴歌　切入点：顺化歌　出处：《上海音乐学院》2017年博士论文

【摘要】：越南是一个国土面积不大的国家,但却拥有54个民族,形成了很多的音乐形式,顺化室内音乐(顺化琴歌)是其中具有代表性的传统音乐形式。学术界认为顺化琴歌形成于阮朝时期17世纪末或18世纪初,19世纪是顺化琴歌的鼎盛时期。顺化琴歌出自宫廷,最初借用了雅乐的一些谱子,后来才扩展到了民间,同时又与顺化的一些部分民间音乐相混合。顺化琴歌受到产生于相同的文化环境的回调(Dieu ho)、理调(dieu ly)、朝文(Chiu van)等音乐的影响,形成别具一格的特点。越南音乐学界、民间艺人对该艺术形式有各种称谓,最为普遍的是称为"顺化歌",该称谓往往会让人误解为"顺化琴歌"是以歌唱为主的音乐体裁,其中的"琴"没有其他音乐形式如"歌妓"(ADao)那么重要。但实际上,它不但歌唱时必须有器乐伴奏,而且还有器乐合奏、独奏等多种形式。因此,笔者使用"顺化琴歌"这一称谓作为这种音乐形式的名称。论文阐述了顺化琴歌对其他地方音乐的影响、歌曲数量以及该音乐传统的来源和意义,并重点分析了对对顺化琴歌中每种乐器演奏风格、唱法的特点及技巧。另一方面,笔者对民间传承人的具体生存样态、所传承的音乐品种的情况等,做了具体、深入细致的调查研究,提出如下论点:1.对"顺化琴歌"在学术界和民间的不同称谓进行了梳理,并提出使用"顺化琴歌"这一称谓更为符合该传统音乐之特性。2.学界认为顺化琴歌形成于阮朝顶峰时期17世纪末到18世纪初,是一种典雅的娱乐形式。笔者的研究找到一些证据补充这一观点。3.关于顺化琴歌中的"调"有研究者认为顺化琴歌分为南调和北调两大类,同时还有一种调叫做"建调",由于此调地处南北两调流传的区域中间,故而在风格上融合了是南调和北调的特征。但根据笔者跟其他民间艺人的经验和看法,以及个人多年的学习经验,认为顺化琴歌仅包括两种调:北调和南调,"建调"仅是南调系统中的一种"春腔"。4.就顺化琴歌的传承现状而言,笔者发现,民间音乐家的后代几乎很少有人愿意继承祖辈的音乐事业,因经济、社会、政策的原因,传统音乐人才日益减少。目前大部分年轻演员都只是为了得到相应的经济报酬才选择这个职业,并不是出于对传统音乐的真正热爱,因此在专业和演出方面并没有很优秀,由于音乐人才的缺少,对音乐技术的要求也一定程度上有所降低,其他相关问题也因此而产生。因此,笔者在研究顺化琴歌后,对顺化琴歌的传承提出一些看法和建议。
[Abstract]:Vietnam is a small country, but it has 54 ethnic groups, forming many forms of music. Hue Hua indoor music (Shunhua piano song) is one of the representative traditional music forms. Academic circles believe that the formation of Shunhua piano songs in the late 17th century or early 18th century or early 18th century is the heyday of Shunhua piano songs. At first, some of the music of elegant music were borrowed, but later it was extended to the people. At the same time, it was mixed with some folk music of Hue Hua. Hue Hua Qin Song was influenced by music such as Dieu hoi, Li Dieu Lyan, Chiu van, etc, which came into being in the same cultural environment, forming a unique characteristic. Folk artists have various appellations for this form of art, the most common being "Hue Hua Song", which is often misunderstood as a musical genre based on singing. The "piano" is not as important as other musical forms such as "geisha". But in fact, it must not only be accompanied by instrumental music, but also instrumental ensemble, solo and other forms. The author uses the title "Hue Hua Qin Song" as the name of this musical form. The paper expounds the influence of the song on other local music, the number of songs, and the origin and significance of the music tradition. On the other hand, the author makes a concrete analysis of the specific living patterns of folk inheritors, the situation of the music varieties inherited, and so on, and analyzes the characteristics and skills of playing each musical instrument in the song of Shunhua, on the other hand, the author makes a specific analysis of the specific living patterns of the folk inheritors and the situation of the music varieties passed on. After a thorough investigation and study, this paper puts forward the following argument: 1. Combing the different titles of "Hue Hua Qin Song" in academia and folk. And put forward the use of the title "Shunhua Qin Song", which is more in line with the characteristics of the traditional music. 2. Academic circles believe that the Hue Hua Qin Song was formed from the end of the 17th century to the beginning of the 18th century in the peak period of the Ruan Dynasty. It is an elegant form of entertainment. My study found some evidence to supplement this view. Some researchers think that Hue Qin songs can be divided into two categories: the south and the north. At the same time, there is also a tone called "Jianyao". Because this tone is located in the middle of the region where the two tunes spread between the North and the South, it is therefore a feature of the South and the North in style. But according to the experience and views of the author and other folk artists, As well as personal experience for many years, it is believed that there are only two kinds of tunes in Shunhua piano song: North and south, "Jian" is only a kind of "spring tune" in the southern tune system. 4. As far as the inheritance status quo of Shunhua piano songs is concerned, the author finds out, Few of the descendants of folk musicians are willing to inherit the music career of their ancestors for economic, social and policy reasons. Traditional music talent is dwindling. At present, most young actors choose this profession only to get a corresponding financial reward, not out of a true love of traditional music, so they are not very good in professional and performing. Due to the lack of musical talents, the requirement of music technology is also reduced to some extent, and other related problems also arise. Therefore, the author puts forward some views and suggestions on the inheritance of the song of Shunhua Qin after studying the song of Shunqin.
【学位授予单位】：上海音乐学院
【学位级别】：博士
【学位授予年份】：2017
【分类号】：J607
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本文编号：1654266