江西省广丰区回树村龙舟号子调查研究

发布时间：2018-06-02 06:09

本文选题：龙舟文化 + 音乐人类学　；参考：《东北师范大学》2017年硕士论文

【摘要】：龙舟文化是我国民族传统文化中重要的组成部分,几千年来一直深受广大群众喜爱,而龙舟号子是龙舟文化中不可缺少的内容之一,在全国的大部分地方尤其在江南荆楚地带仍然延续着划龙舟时唱龙舟号子的习俗。龙舟号子是指于端午节期间在龙舟上喊唱、依附于龙舟活动的一种民歌形式,具体来说是号子形式;其内容通常反映当地老百姓的劳动生产、社会生活的方方面面,表达民众热爱生活、积极乐观的生活态度和情感;喊唱方式有“一领众和”、“众人齐唱”。在江西省广丰区回树村,龙舟活动倍受人们的欢迎,龙舟号子是活动不可或缺的一个传统民俗音乐项目,它长时间内与人们的生活保持紧密的关系,具有音乐性、文学性、宗教性等特点;喊唱时,龙舟号子是由鼓手和划桨手共同完成,鼓手一边敲鼓一边领唱,划桨手帮腔。本文以回树村龙舟号子为调查研究对象,对该村龙舟号子进行全方面的调查,并以音乐人类学的视角来探讨这一古老而现代的民俗音乐形式,共五章,各章节主要内容如下:第一章:主要对龙舟号子的生存环境进行叙述,其中包括回树村的人文地理及号子的活动场所两方面,具体辨析了回树村名字的由来、回树村人口、自然环境及回树村的端午节情况,并简略介绍回树村龙舟活动的场所与龙舟的各个部件等象征意义,从其文化背景上对龙舟号子给予关照。第二章:本章重点探讨回树村的龙舟号子,主要从号子的歌词、号子的音乐两大方面论述,由于目前村内龙舟号子的旋律曲调仅存一首,鼓手们创作了丰富的歌词来填补缺陷,人们以吴方言喊唱,歌词内容涉及社会生活、生产劳动、神话传说等多方面,其中更有暗含早期民间信仰的“帮腔”部分;而音乐主要从调式调性、结构、节拍节奏方面分析了号子,从其号子所在的环节与船员的需要方面讨论了为何号子没有劳动号子所特有的律动性,而更像是一种山歌或者是民歌的形式;最后对号子的协调动作、释放身心压力、表达情感方面的功能进行论述。第三章:不同地域的人们对于音乐的认识和表现形式会有其自己不一样的地方,因此本章主要讨论龙舟号子的喊唱与喊唱号子的船员,在喊唱方面,船员们一般都使用自然嗓音,方式上则运用号子的一般特点,即一领众和的形式,鼓手唱先唱主句,划桨手唱帮腔,以相同的结构循环往复。更具特点的是有经验的鼓手会在歌词、衬词、鼓点方面做出即兴的创造,使得现场氛围更活跃;船员方面,笔者分别对其性别、身份、年龄、文化程度方面做了问卷调查,发现船员存在女性的缺席、船员“各司其职”、号子传承者老年化、文化程度高低与对龙舟号子熟悉程度呈负相关的特点。第四章:由于龙舟活动和龙舟号子之间水乳交融的关系,本章主要讲龙舟活动,及其各个环节与龙舟号子的关系,其中包括龙舟活动的准备:经费准备、龙舟准备、船员准备、仪式准备等;龙舟活动的环节:游船、赛船、接船、回巢及相关民风民俗与这些环节中所唱的号子,特别是游船环节的号子。第五章:本章也是通过现场调查的方式,对龙舟号子的传承方式、与传承效果做出叙述与分析,发现其存在的“口传心授”、“现场模仿”、“家庭的游戏”三种传承方式,其传承效果也并不理想;当然本章也试图揭露龙舟号子在回树村发展出现危机的其他原因:现代化冲击、传统性别思想的束缚、民众保护意识淡薄、音乐观念与音乐背离、龙舟活动机制不完善;最后简单阐述了笔者关于传承龙舟号子的对策。
[Abstract]:Dragon boat culture is an important part of our national traditional culture. It has been loved by the masses for thousands of years, and dragon boat chant is one of the indispensable contents of dragon boat culture. In most parts of the country, especially in the Jingchu region of the south of the Yangtze River, the custom of singing Dragon Boat chant when drawing dragon boat is still continued. During the festival in the Dragon Boat Festival, a folk song, which is attached to the Dragon Boat activity, is a form of folk song, which is specifically the form of the horn; its content usually reflects the labor and production of the local people, the aspects of the social life, the expression of the people's love of life, the positive and optimistic attitude and emotion of life, and the way of shouting and singing "one leader and the crowd" and "the chorus of public singing". In the Hui tree village in Guangfeng District of Jiangxi Province, Dragon Boat activities are popular with people. The Dragon Boat chant is an indispensable traditional folk music project. It has a close relationship with people's life for a long time. It has the characteristics of musicality, literature, religion and so on. When yelling, the Dragon Boat chant is completed by the drummer and the oar hand, drummer. This paper takes the Dragon Boat chant as the research object, investigates the Dragon Boat chant in the village, and probes into the ancient and modern folk music form from the perspective of musical anthropology. The main contents of the chapters are as follows: the first chapter is the survival of the Dragon Boat chant. The environment is narrated, including two aspects of the cultural geography of the village, the origin of the name of the Hui village, the population of the tree village, the natural environment and the Dragon Boat Festival in the Hui tree village, and the symbolic meaning of the location of the Dragon Boat activities and the parts of the dragon boat, and the cultural background of the village. The second chapter: this chapter focuses on the Dragon Boat chant of the Hui tree village, mainly from the song lyrics of the chant and the music of the chant in two aspects. As the melody of the Dragon Boat chant in the village is only one of the melody tunes, the drummers have created rich lyrics to fill the defects, and people shout and sing in the Wu dialect, the content of the lyrics involves social life. There are many aspects of productive labor, mythology and legends, including the "Gang" part of the early folklore, and the music is mainly analyzed in terms of the tone, structure, rhythm and rhythm. The form of a mountain song or a folk song; finally, the coordination of the chant, the release of physical and mental pressure, the expression of emotional functions to discuss. The third chapter: the people in different regions of the music understanding and expression will have their own different places, so this chapter mainly discusses the crew of the Dragon Boat chant singing and shouting and singing, shouting In singing, the crew generally use the natural voice. In the way, the general characteristics of the horn are used, that is, the form of a leader, the drummer sings the main sentence, the paddle hand sings the cavity, and the same structure is repeated. The more characteristic is that the experienced drummer will make improvisational creation in the lyrics, the words, the drums, and make the scene more lively. On the seafarer, the author made a questionnaire survey on their sex, identity, age and cultural degree, and found that the crew was absent from women, the crew was "different from their duties", "the successors of the number" were old, the level of culture was negatively related to the familiarity with the Dragon boat chant. The fourth chapter was due to the water between Dragon Boat activities and dragon boat chant. This chapter mainly talks about the relationship between Dragon Boat activities and its various links and the Dragon Boat chant, including the preparation of dragon boat activities, the preparation of the dragon boat, the preparation of the dragon boat, the preparation of the crew, the preparation of the ceremony, and so on; the link of the Dragon boat activities: the boat, the ship, the ship, the nest and the folk customs and the songs sung in these links, especially the cruise ship. The fifth chapter: this chapter is also through the way of field investigation, the inheritance mode of dragon boat chant, and the inheritance effect of the narrative and analysis, found that the existence of "oral and oral teaching", "scene imitation", "Family Games" three ways of inheritance, its inheritance effect is not ideal; of course, this chapter also attempts to expose the dragon boat number Other reasons for the development of the crisis in the village are: the impact of modernization, the shackles of traditional gender thought, the weak consciousness of the public protection, the deviation of the music concept and music, and the imperfect mechanism of the Dragon Boat activity; finally, the author briefly expounds the Countermeasures of the author's inheritance of the Dragon Boat chant.
【学位授予单位】：东北师范大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J607

【参考文献】