明清俗曲在云南的传播与衍变

发布时间：2018-04-11 15:48

  本文选题：明清俗曲 + 自然传播　； 参考：《南京艺术学院》2016年博士论文

【摘要】：云南自古以来就与内地有着很强的政治、经济和文化交流,不断迁徙到云南的内地民众是内地音乐文化在云南的主要传播者和媒介。明代之前,内地民众迁入云南后,基本上都是“便服从其俗”,逐渐融入到云南本土的民族之中了,音乐文化也是如此。明清大规模的军屯、民屯、商屯等移民彻底改变了云南的整体面貌,汉族逐渐成为云南的主体民族,云南的文化也由以少数民族为主的多元文化走向以汉文化为主体的多元一体的文化格局。明清俗曲是兴盛于内地明清时期的一种特有的音乐艺术形式,它是明清时期以职业或半职业艺人为创作表演主体,文人参与,流行于民间市坊中用乐器伴奏的流行歌曲,以及由这些流行歌曲发展或参与的曲艺、戏曲和器乐音乐。云南本没有,是内地移民将“俗曲”带到了云南,移民不仅是明清时期“俗曲”在云南的传播主体,也是其传播的主要媒介和接受群体。当云南成为大一统的中国一个省区后,国家的礼俗用乐成为“俗曲”在云南传承与传播的制度保障,沟通二者的是乐籍制度。明清俗曲随移民而迁徙,移民到哪儿,“俗曲”就流传至哪里,由此形成了以汉族移民聚居区为中心的“俗曲”文化圈并向周围不断扩散,汉族聚居区、汉族与少数民族杂居区和少数民族聚居区的“俗曲”在数量、乐种和音乐形态上都呈现逐渐递减趋势。清代雍正时期的“改土归流”使得“俗曲”在云南的传播范围不断扩展,但乐籍制度的废除,又使得“俗曲”在云南传播的过程中出现了“雅”衰“俗”盛的局面,【打枣竿】、【挂枝儿】、【金纽丝】等较为文雅的“俗曲”或退出历史舞台或被“俗化”或被“简化”,而【孟姜女调】、【鲜花调】、【剪靛花】等简洁明快、通俗易懂的“俗曲”受到人们的追捧,不仅流播的范围扩大,也被其它音乐艺术形式吸收,由此不仅壮大了自己、传播了自己、还衍展创新了自己,成为了真正的民间“俗曲”。由于云南自然环境和地处边疆对中原文化的强烈认同感等诸多原因,更是由于乐籍制度的保障,随内地移民一起进入云南的许多明清俗曲至今还保留着较为古朴的状态,它们不仅成为汉民族保存自身特征的重要文化娱乐形式,也在不断的改造、融合和适应云南的少数民族音乐文化,并由此促成了云南多种民间艺术的形成与发展,最终成为云南多民族共同喜爱的艺术形式。它们对云南各民族在文化认同、国家认同和多元一体的中国音乐文化建设中都起到了很大的作用。
[Abstract]:Yunnan has had strong political, economic and cultural exchanges with the mainland since ancient times, and the mainlanders who have been migrating to Yunnan are the main communicators and media of mainland music culture in Yunnan.Before the Ming Dynasty, the mainland people moved to Yunnan, basically "casual clothes from its vulgar", gradually integrated into the local people in Yunnan, music culture is the same.The large-scale immigrants from the Ming and Qing dynasties, such as military, civilian and commercial villages, completely changed the overall appearance of Yunnan, and the Han nationality gradually became the main ethnic group in Yunnan.The culture of Yunnan also changed from the multi-culture dominated by ethnic minorities to the multi-cultural pattern with Han culture as the main body.The folk music of the Ming and Qing dynasties is a unique form of musical art that flourished in the mainland during the Ming and Qing dynasties. It was a popular song performed by professional or semi-professional entertainers in the Ming and Qing dynasties with the participation of literati and popular musical instruments in folk markets.As well as the development or participation of these pop songs in quyi, opera and instrumental music.There was no such thing in Yunnan, and it was the mainland immigrants who brought "vulgar songs" to Yunnan, which was not only the main dissemination subject of "vulgar songs" in the Ming and Qing dynasties, but also the main medium and the receiving group of the "vulgar songs" in the Ming and Qing dynasties.When Yunnan became one of the provinces and regions of China, the national ritual and custom music became the system guarantee of the inheritance and dissemination of "vulgar music" in Yunnan, and the communication between the two was the system of music and nationality.The folk songs of the Ming and Qing dynasties migrated with immigrants. Wherever they emigrated, the "folk songs" spread, thus forming a cultural circle of "vulgar songs" centered on the areas inhabited by Han immigrants and spreading to the surrounding areas, where the Han nationality was concentrated.The "folk songs" of the Han nationality and the minority areas are gradually decreasing in number, music species and music form.During the period of Yongzheng of Qing Dynasty, "changing the land and returning to flow" made the spread of "vulgar music" in Yunnan continuously expand, but the abolition of the music system made the "vulgar music" in Yunnan spread in the process of "elegant" decline "popular" situation.The more elegant "folk songs", such as [beating jujube], [hanging branches], [Jinius], and so on, either withdraw from the historical stage or be "vulgar" or "simplified", while [Meng Jiangnv], [flowers], [cut indigo flowers], etc., are concise and lively.The easy-to-understand "vulgar music" is sought after by people. It not only broadens the scope of broadcasting, but also is absorbed by other forms of musical art. Thus, it not only strengthens itself, spreads itself, but also develops and innovates itself.Has become the real folk "vulgar song".Because of Yunnan's natural environment and its strong sense of identity to the Central Plains culture in the border areas, and because of the protection of the music system, many of the Ming and Qing vulgar songs that entered Yunnan along with the mainland immigrants still retain a relatively primitive state to this day.They have not only become an important form of cultural entertainment for the Han nationality to preserve its own characteristics, but also continuously reformed, integrated and adapted to the music culture of minority nationalities in Yunnan, and thus contributed to the formation and development of a variety of folk arts in Yunnan.Finally, it became a popular art form of Yunnan.They have played a great role in the construction of Chinese music culture, which is cultural identity, national identity and pluralistic integration.
【学位授予单位】：南京艺术学院
【学位级别】：博士
【学位授予年份】：2016
【分类号】：J609.2
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本文编号：1736639