土家族恩施扬琴传统非舞台化与现代舞台化表演探究

发布时间：2018-03-29 02:01

本文选题：恩施扬琴　切入点：非舞台化　出处：《中央民族大学》2017年硕士论文

【摘要】：土家族恩施扬琴作为鄂西北曲艺音乐中的重要一支,其唱腔丰富,音乐优美,历史悠久,并以高雅音乐著称。历史上主要为文人雅士自娱自乐的一种曲艺形式,最常见的形式为三五个好友,在古庙或者雅集中演唱,演唱者居中间,面前放置扬琴,其他乐器分列两边,有二胡、京胡、三弦、琵琶、月琴、碗琴、鼓板等,其中,扬琴在整个乐队中起指挥的作用,也是主奏乐器,因此,大家习惯称操扬琴者为"坐统子"。由于恩施扬琴一向是以高雅著称,因此,历史上并没有形成职业班社,也没有以此为谋生手段的职业艺人,恩施扬琴的演唱更有"三不"的说法,即不闹堂子、不坐茶馆、不公开演唱,艺人们还有"曲唱五更鸡,非友(知音)不玩琴"一说。正是因为这些独特的特点,恩施扬琴在恩施土家族苗族自治州的各个县得到了广泛的流传。传统的恩施扬琴有着"不搭台、不表演、不化妆"的特点,在知识分子和上层社会中流传。然而,随着社会的发展和现代化进程的加速,恩施扬琴的生存环境发生了巨大的改变,传统恩施扬琴的各个方面也都发生着变迁,舞台化后的恩施扬琴根据舞台艺术的特点对传统的恩施扬琴进行了改编、创新,在各大比赛、展演舞台上展露风采,并取得了不错的成绩。这一方面说明了恩施扬琴舞台化转型的成功,它促进了恩施扬琴的传播与发展,但另一方面,我们还要考虑到舞台化的恩施扬琴是不是真正实现了对恩施扬琴的传承和发展?这种舞台表演在多大程度上传承了恩施扬琴的精髓?恩施扬琴有没有失去本真性的东西?是否做到了舞台真实?因此,本文以恩施扬琴作为主要研究对象,通过对现存的两种发展模式——传统非舞台化与现代舞台化表演进行分析,借鉴民族音乐学、人类学、社会学等学科的研究方法,探究恩施扬琴的这两种表演形式在声乐唱腔曲牌、唱词、伴奏乐器、调式调性、表演形态、表演人员构成等各个方面的异同,揭示发生这种舞台化变迁的原因,并借此审视恩施扬琴在当下的社会文化背景下应该如何进行更好的传承发展,进而思考传统文化与现代碰撞后应该如何实现重构。整个论文主要包括以下几个部分:第一章是绪论,是对整个研究情况的说明和梳理,主要包括研究缘起、研究意义、研究相关动态、理论背景及主要研究方法等。第二章理论及概念层面,主要对土家族恩施扬琴的生存环境、发展历程以及两种现存的生存模式进行概述。第三章为个体分析层面,分别对土家族恩施扬琴的传统非舞台化形式和现代舞台化形式表演从几个方面进行对比和解析。第四章为个体分析层面,结合对比结果及其社会背景,对土家族恩施扬琴由传统民间走向现代舞台的原因进行探究,并对恩施扬琴如何在现代化社会中重构提出自己的建议。第五部分为结论,综合以上分析,对土家族恩施扬琴的非舞台化与舞台化关系进行思考。最后为参考文献、附录和致谢,主要是我从整个论文构思到写作完成所参考的主要文献资料,采风过程中的图片、谱例及访谈材料整理,以及对对我论文完成提供过帮助的老师、朋友、家人及当地相关人员提出感谢。
[Abstract]:Enshi Tujia folk music in the northwest of Hubei dulcimer as an important branch of the rich, singing, music and beautiful, has a long history and is famous for its elegant music. History is mainly a folk art form of literati ziyuzile, the most common form of 35 friends, in the ancient temple or the elegant assembly of singing, singing in the middle, in front of the other instruments placed on both sides of the breakdown, dulcimer, erhu, pipa, Sanxian, Jinghu, Yueqin, harmonica, drum, the dulcimer command role in the band, is also the main musical instrument, so we used to call them as "sit the fuck dulcimer." as the Enshi dulcimer has always been known for elegant, therefore, history has not formed the occupation class agency, nor as a means of occupation artist, Enshi dulcimer concert more "three", that is not downtown church, not a teahouse, do not sing in public, artists and song " Even chicken, non friends (Concert) do not play the piano "said. It is because of these unique features, Enshi dulcimer has been widely spread in each county, Enshi Tujia and Miao Autonomous Prefecture of Enshi. The traditional dulcimer has not set up the stage, no show, no makeup" features in the intellectual and the upper the spread of society. However, with the acceleration of social development and modernization process, great changes have taken place in Enshi dulcimer environment, every aspect of traditional Enshi dulcimer are also changing, the stage of Enshi after the dulcimer according to the characters of stage art of traditional Enshi dulcimer were adapted in the innovation. A big game show show style, and have achieved good results. This shows that Enshi dulcimer transformation success stage, it promoted the spread and development of Enshi dulcimer, but on the other hand, we have to consider the stage The Enshi dulcimer is not really realized the inheritance and development of the Enshi dulcimer? This stage inherits the essence of Enshi dulcimer whatextent? Enshi dulcimer have lost the true things? Whether to do so, based on the real stage? Enshi dulcimer as as the main research object, based on the two kinds of development the existing mode of non - traditional stage and modern stage performance analysis, from national musicology, anthropology, sociology and other research methods, the two kinds of performances to explore Enshi dulcimer in vocal music singing song lyrics, musical accompaniment, brand, tonality, performance form, performance and other aspects of the similarities and differences the reason for this stage, reveal the changes, and to look at the contemporary social and cultural background of Enshi dulcimer Heritage under the development should be how to better, and thinking of traditional culture After the collision with the modern should be how to reconstruct. The thesis mainly includes the following parts: the first chapter is the introduction, the research situation is illustrated and combing, mainly includes the research origin, research significance, related research, theoretical background and main research methods. The second chapter theory and concept level, mainly of the Tujia nationality Enshi dulcimer living environment, the development process and the existing two kinds of survival mode are summarized. The third chapter is the analysis of the individual level, the traditional non formal stage respectively and the modern stage of Tujia Nationality in Enshi in the form of dulcimer performing a comparative and analysis from several aspects. The fourth chapter is the analysis of the individual level, compared with the results of society the background, to explore the causes of Tujia Nationality in Enshi from the traditional to the modern folk dulcimer stage, and the Enshi dulcimer in modern society how to make their own reconstruction Suggestions. The fifth part is the conclusion, based on the above analysis, on stage and the stage of non relationship of Tujia Nationality in Enshi. Finally, dulcimer reference appendix, and thank you, is I from the literature writing conception to complete reference, in the process of collecting pictures, music and interview arrangement material and finish helped the teacher, for me the friends, family members and the local stakeholders thanks.

【学位授予单位】：中央民族大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J632.51

【参考文献】