蔡家洼五音大鼓及其曲种渊源的音乐学考察

发布时间：2018-06-03 15:34

本文选题：蔡家洼五音大鼓 + 艺术形态　；参考：《中国艺术研究院》2007年硕士论文

【摘要】： 本文从介绍蔡家洼五音大鼓的重新发现和存留状况入手，通过对相关文献资料的检索与田野口述材料的考察，对蔡家洼五音大鼓与其它各种名目的“五音大鼓”相互关系的梳理，首先厘清了蔡家洼五音大鼓与相关形式的学术边际，廓清了蔡家洼五音大鼓作为本文研究对象的具体目标；然后借助作为蔡家洼五音大鼓本体构成最为本质也最“鲜活可感”的音乐曲调，及其与已有说法中相关曲种唱腔曲调的比较分析，在排查相互间影响借鉴具体关系的过程中，给出笔者关于蔡家洼五音大鼓基本形态和曲种渊源的学术描述；同时，对于“五音大鼓”称谓中的“五音”之解及瓦琴作为伴奏乐器的特殊存在所引出的相关推测，也在研究梳理之后提出了自己的看法。从而在客观上厘清并矫正了之前有关蔡家洼五音大鼓在音乐形态构成、曲种历史渊源、名称含义指称与特殊伴奏乐器等等方面的诸般认识与说法。本文认为，蔡家洼五音大鼓是从历史上京东北地区流传的“五音大鼓”中分衍、变异出来的而独立存在的一种，唱腔曲调的丰富性和伴奏乐器的独特性而独树一帜。在其形成和演变的过程中，与京东大鼓即“落腔调”关系密切，音乐曲调的构成则主要承继了承德四平调大鼓的影响，同时也与乐亭大鼓、平谷调大鼓和大兴再城营五音大鼓有着相互间的交流与影响。和同类鼓书或鼓曲形式相比，它不仅在艺术的构成上较为独特，而且在音乐的形态内涵上比较丰富多彩。是曲艺中一种十分独特而又珍贵的具备了“说书”和“唱曲”两种审美功能的鼓书暨鼓曲形式。关于“五音大鼓”的“五音”，笔者倾向于认为是指五件伴奏乐器，或者五个人的演出组合。瓦琴作为伴奏乐器的特殊存在，一方面说明它在形成和发展的过程中，很可能是民间艺人在运用其进行娱乐和谋生的过程中，偶然增加进去用以伴奏而延传下来的，，但也不能完全排除曾受到了清末陪都承德宫廷乐师的改造或影响。
[Abstract]:This paper begins with the introduction of the rediscovery and retention of Cai Jiawa Wuyin Drum, through the retrieval of relevant literature and the investigation of field oral materials. Combing the relationship between Caijiawa Wuyin Drum and other names of "Wuyin Drum", this paper firstly clarifies the academic margin of Caijiawa Wuyin Drum and related forms, and clarifies the specific goal of Caijiawa Wuyin Drum as the object of this paper. Then, with the help of the musical tunes, which constitute the most essential and the most "vivid" music as the Noumenon of Caijiawa Wuyin Drum, and their comparative analysis with the relevant vocal tunes in the existing theories, we can learn from the concrete relationship in the process of investigating the influence of each other on each other. The author gives an academic description of the basic form and origin of the Wuyin Drum in Cai Jiawa, at the same time, the relevant speculation about the solution of "Wuyin" in the appellation "Wuyin Drum" and the special existence of Waxin as an accompaniment instrument is given. Also in the study after combing put forward their own views. Thus it objectively clarifies and corrects the previous understandings and statements of Cai Jiawa Wuyin Drum in the aspects of musical form composition, historical origin of music species, reference of name meaning and special accompaniment instrument, and so on. This paper holds that Cai Jiawa Wuyin Drum is a kind of independent existence which is derived from the "Five-tone Drum" spread in the northeast of Beijing in history. It is unique because of the richness of the melody and the uniqueness of the accompaniment instrument. In the process of its formation and evolution, it is closely related to the JingDong Drum, that is, "falling tone". The composition of musical tunes mainly inherits the influence of Chengde Siping Drum, and also with the Leping Drum. Pinggu tune Dagu and Daxing Zaicheng camp five-tone drums have a mutual exchange and influence. Compared with the similar drum books or drum music forms, it is not only more unique in the composition of art, but also more colorful in the connotation of music form. It is a unique and precious form of drum book and music with the aesthetic functions of "storytelling" and "singing music". The author tends to refer to five accompaniment instruments, or a combination of five people. The special existence of Wachan as an accompaniment instrument, on the one hand, shows that in the process of its formation and development, it is very likely that folk artists, in the process of using it for entertainment and livelihood, accidentally added it to accompany and handed it down. However, it can not be completely ruled out that it was transformed or influenced by Chengde court musicians in the late Qing Dynasty.
【学位授予单位】：中国艺术研究院
【学位级别】：硕士
【学位授予年份】：2007
【分类号】：J617.9

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