泰国末拉姆、老挝末拉姆与广西末伦的比较研究—同源异流辨析
发布时间：2018-11-12 12:37
【摘要】：本文以泰国东北乌汶府、玛哈萨拉堪府、黎逸府、那空拍农府湄公河沿岸地区末拉姆(mawlum[m(?)35 1^m31])音乐、老挝万象为中心的湄公河沿岸地区末拉姆(mawlum[m(?)35 1^m31])音乐以及广西右江流域靖西县、德保县末伦音乐为研究对象,通过比较来研究三者之间的关系。文章着重论述两个问题。第一、论证泰国、老挝所研究区域末拉姆音乐经历了从末拉姆辟发(mawlum pee fah)、末辟(mo pee)巫术仪式到末拉姆的转型。第二、泰国东北、老挝所研究区域末拉姆(mawlum[m(?)35 1^m31])音乐与广西所研究区域末伦音乐之间是否存在同源异流的关系。文章通过对现有文献资料的梳理,理清泰国东北与老挝历史上的渊源关系。运用本人的实地调查及艺人的口述资料,说明泰东北、老挝所研究区域末拉姆(mawlum[m(?)35 1^m31])音乐之间的关系。本文以泰国、老挝和广西实地调查为基础,结合现有文献资料,论述末拉姆(mawlum[m(?)35 1^m31])从巫术到艺术的转型。文章论证了鬼灵崇拜末拉姆辟发(mawlum pee fah)仪式中的音乐行为与娱乐型末拉姆(mawlum[m(?)35 1^m31])音乐行为的关系。综合本人实地调查和其他文献资料考证,现今泰、佬民族与壮族先民系同源民族,可能是在南北朝时期分化出去,经西双版纳与老挝北部山区克木人的居地迁徙到达现在的地域。佬泰先民迁徙途中吸纳了克木人的饮酒礼俗和乐器凯恩(Kaen)等文化元素,并将其做为末拉姆辟发(mawlum pee fah)仪规的组成要件和娱乐型末拉姆(mawlum[m(?)35 1^m31])的伴奏乐器。文章通过大量的细节描写和比较分析,拓宽了“广西右江地区魔婆(me214 mot31)仪式中的歌唱是末伦古老源头”这一认知,论证了泰、老所研究区域末拉姆(mawlum[m(?)35 1^m31])与广西所研究区域末伦在鬼灵崇拜仪式音乐行为方面的同源关系。根据末伦与末拉姆(mawlum[m(?)35 1^m31])差异性的事实,或可推定娱乐型末拉姆(mawlum[m(?)35 1^m31])的出现当在泰、佬、壮民族分化之后。通过考证末拉姆辟发(mawlum pee fah)仪式与魔婆(me214 mot31)仪式中不同法器的出现年代,以及上述诸环节文化事象的梳理、引证、描述与分析,文章提出了泰东北、老挝所研究区域末拉姆(mawlum[mo35 1^m31])与广西右江流域所研究区域末伦从同源走向异流的假设。
[Abstract]:In this paper, mawlum [m (?) 35 1 ^ m31] music is taken from Uven, Mahasala, Li Yat, Nafangfu, Mekong River region in northeastern Thailand. The music of mawlum (m (?) 351 ^ m31) and the music of Jingxi County and Debao County in Youjiang River Basin of Guangxi Province are studied as the object of study, and the relationship between the three is studied by comparing the music of mawlum [m (?) 351 ^ m31] in the Mekong coastal area with Laos Vientiane as the center. This paper focuses on two problems. The first is to demonstrate that the music of Teram in Thailand and Laos has undergone the transition from (mawlum pee fah), witchcraft ceremony to (mo pee) witchcraft ceremony. Secondly, whether there is a homologous relationship between the music of mawlum [m (?) 351 ^ m31] in the region of northeast Thailand and Laos and the music of Mellon in the region studied in Guangxi. This paper clarifies the historical relationship between Northeast Thailand and Laos by combing the existing literature. Based on my field investigation and oral data of artists, the relationship between mawlum music in northeast Thailand and Laos is explained. Based on the field investigation in Thailand, Laos and Guangxi and the existing literature, this paper discusses the transformation from witchcraft to art by mawlum [m (?) 351 ^ m31]. This paper discusses the relationship between music behavior in the (mawlum pee fah) ritual of ghost worship and entertainment type (mawlum [m (?) 351 ^ m31]). Synthesizing my field investigation and other documents and materials, we can see that the present Tai, Lao and Zhuang nationalities belong to the same ethnic group, which may have been differentiated during the Southern and Northern dynasties. Through Xishuangbanna and the northern mountains of Laos Kemu people migration to the present region. The Laotai ancestors absorbed the cultural elements of the Kemu people's drinking rituals and musical instruments, such as Kane (Kaen), during their migration. It is used as an accompaniment instrument for mawlum [m (?) 351 ^ m31]. Through a great deal of detailed description and comparative analysis, the paper broadens the cognition that singing in the me214 mot31 ritual in Youjiang area of Guangxi is the ancient source of Moulon. The homologous relationship between mawlum [m (?) 351 ^ m31] and Moulon in the music behavior of Ghost worship ritual. According to the fact that mawlum [m (?) 351 ^ m31] is different, it may be inferred that the appearance of mawlum (mawlum [m (?) 351 ^ m31]) should come after the ethnic differentiation of Tai, Lao and Zhuang. Through textual research on the emergence of different instruments in (mawlum pee fah) ritual and me214 mot31 ritual, as well as the combing, quotation, description and analysis of the cultural events mentioned above, the paper puts forward the northeast of Thailand. The hypothesis that mawlum (mo35 1 ^ m31) and the region studied in Youjiang River Basin of Guangxi Province turn from homology to heterogeneity.
【学位授予单位】：中国音乐学院
【学位级别】：博士
【学位授予年份】：2016
【分类号】：J607
，
本文编号：2327125
[Abstract]:In this paper, mawlum [m (?) 35 1 ^ m31] music is taken from Uven, Mahasala, Li Yat, Nafangfu, Mekong River region in northeastern Thailand. The music of mawlum (m (?) 351 ^ m31) and the music of Jingxi County and Debao County in Youjiang River Basin of Guangxi Province are studied as the object of study, and the relationship between the three is studied by comparing the music of mawlum [m (?) 351 ^ m31] in the Mekong coastal area with Laos Vientiane as the center. This paper focuses on two problems. The first is to demonstrate that the music of Teram in Thailand and Laos has undergone the transition from (mawlum pee fah), witchcraft ceremony to (mo pee) witchcraft ceremony. Secondly, whether there is a homologous relationship between the music of mawlum [m (?) 351 ^ m31] in the region of northeast Thailand and Laos and the music of Mellon in the region studied in Guangxi. This paper clarifies the historical relationship between Northeast Thailand and Laos by combing the existing literature. Based on my field investigation and oral data of artists, the relationship between mawlum music in northeast Thailand and Laos is explained. Based on the field investigation in Thailand, Laos and Guangxi and the existing literature, this paper discusses the transformation from witchcraft to art by mawlum [m (?) 351 ^ m31]. This paper discusses the relationship between music behavior in the (mawlum pee fah) ritual of ghost worship and entertainment type (mawlum [m (?) 351 ^ m31]). Synthesizing my field investigation and other documents and materials, we can see that the present Tai, Lao and Zhuang nationalities belong to the same ethnic group, which may have been differentiated during the Southern and Northern dynasties. Through Xishuangbanna and the northern mountains of Laos Kemu people migration to the present region. The Laotai ancestors absorbed the cultural elements of the Kemu people's drinking rituals and musical instruments, such as Kane (Kaen), during their migration. It is used as an accompaniment instrument for mawlum [m (?) 351 ^ m31]. Through a great deal of detailed description and comparative analysis, the paper broadens the cognition that singing in the me214 mot31 ritual in Youjiang area of Guangxi is the ancient source of Moulon. The homologous relationship between mawlum [m (?) 351 ^ m31] and Moulon in the music behavior of Ghost worship ritual. According to the fact that mawlum [m (?) 351 ^ m31] is different, it may be inferred that the appearance of mawlum (mawlum [m (?) 351 ^ m31]) should come after the ethnic differentiation of Tai, Lao and Zhuang. Through textual research on the emergence of different instruments in (mawlum pee fah) ritual and me214 mot31 ritual, as well as the combing, quotation, description and analysis of the cultural events mentioned above, the paper puts forward the northeast of Thailand. The hypothesis that mawlum (mo35 1 ^ m31) and the region studied in Youjiang River Basin of Guangxi Province turn from homology to heterogeneity.
【学位授予单位】：中国音乐学院
【学位级别】：博士
【学位授予年份】：2016
【分类号】：J607
，
本文编号：2327125
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