本文選題：刀郎木卡姆 + 傳承人��； 參考：《塔里木大學(xué)》2017年碩士論文

【摘要】：刀郎文化有著悠久的歷史,新疆阿瓦提縣便是刀郎文化的發(fā)祥地之一。刀郎木卡姆孕育在刀郎文化之中,它是民族藝術(shù)瑰寶,是維吾爾族文化、藝術(shù)的寶貴財富。刀郎木卡姆將刀郎地區(qū)流傳的維吾爾族民謠進行傳唱,將人們?nèi)粘Ｉ钪械南才啡谌氤~里,用音樂的曲調(diào),真摯的感情,高亢粗獷的嗓音唱出來,以表現(xiàn)出刀郎維吾爾族人的心情和社會生活,它的地域文化特征明顯,所以深受群眾喜愛,在人際往來的群體性活動中,如:傳統(tǒng)節(jié)日、婚喪嫁娶等慶典,刀郎木卡姆是必不可少的。刀郎木卡姆和刀郎人的出生、成長、死亡息息相關(guān),它伴隨著每一個刀郎人,然而刀郎木卡姆的傳承具有社會性和松散性的特征,民間傳承人進行藝術(shù)傳承大多以“口傳心授”為傳承方式,且它的表演方式大都是即興表演,因此,學(xué)習(xí)刀郎木卡姆不僅需要勤奮,還需要音樂天賦,刀郎木卡姆學(xué)起來很累、很辛苦、很費勁,耐不住性子的話是學(xué)不了的,培養(yǎng)一個徒弟至少要5年才能上臺演出。而且,隨著物質(zhì)生活水平的不斷提升,學(xué)習(xí)刀郎木卡姆收入低、經(jīng)濟效益低,故大多數(shù)人都對其感興趣卻并不愿意學(xué)習(xí)。近年來,刀郎木卡姆藝術(shù)傳承人面臨老齡化、后繼無人、生活得不到保障等一系列問題,如今,能夠完整演唱刀郎木卡姆的藝人,已經(jīng)屈指可數(shù),為數(shù)不多的幾位老藝人年事已高,這項傳統(tǒng)藝術(shù)瀕臨失傳。本文采用文獻研究、實地訪談刀郎木卡姆傳承人及相關(guān)部門人員、傳承人個案分析等方法,以阿瓦提縣非遺刀郎木卡姆傳承人生存狀況為主要調(diào)查對象,通過實地走訪、調(diào)研,了解他們的生存環(huán)境、生存現(xiàn)狀和藝術(shù)傳承狀況,通過綜合分析,發(fā)現(xiàn)阿瓦提縣非遺刀郎木卡姆傳承人生存狀況存在傳承人生存壓力大、傳承人不足、政府保護力度不夠、傳承人文化水平不高、傳承人結(jié)構(gòu)失衡、難以帶來經(jīng)濟效益、傳承結(jié)構(gòu)單一、傳承觀念守舊等問題。針對這些問題,筆者從政策保護、傳承保護、開發(fā)保護三個方面具體提出了有針對性的有效的解決辦法,以加強對刀郎木卡姆傳承人的保護和探索新的發(fā)展渠道。
[Abstract]:Dao Lang culture has a long history, Xinjiang Awati County is one of the birthplace of Dao Lang culture. Mukam was conceived in the culture of Dao Lang, which is the treasure of national art and the precious wealth of Uygur culture and art. Mukam sang the Uygur folk songs circulating in the Dagorang region, and put the daily life of people's joys, sorrows and sorrows into the singing words, singing them with musical tunes, sincere feelings, and a high and rugged voice. In order to show the mood and social life of the Dailang Uighur people, its regional and cultural characteristics are obvious, so it is deeply loved by the masses. In the group activities of interpersonal exchanges, such as traditional festivals, marriage and funeral, and other celebrations, Mulkam is indispensable. Mukam is closely related to the birth, growth and death of the Dao Lang people. It is accompanied by every Dao Lang people. However, the inheritance of the Dao Lang Mukam has the characteristics of social and loose. Most of the folk inheritors pass on art through oral instruction, and most of its performances are impromptu performances. Therefore, learning from Dailang Mukam requires not only hard work, but also a talent for music, which is very hard to learn. Very hard, very hard, can not bear to learn to learn, to train a apprentice at least 5 years to perform on stage. Moreover, with the improvement of material standard of living, Moran Mukam has low income and low economic benefit, so most people are interested in it but do not want to learn. In recent years, the art inheritors of Dao Lang Mukam have been faced with a series of problems, such as the aging, the lack of successors and the lack of security of life. Now, there are only a handful of artists who have been able to complete the singing of Mukam. A few old artists are very old, and the traditional art is on the verge of being lost. This paper adopts the methods of literature research, field interviews with the personnel of the related departments and related departments, case analysis of the inheritors, taking the living conditions of the non-Yi Lang Muqam inheritors in Awati County as the main object of investigation, through field visits, research, and so on. To understand their living environment, living conditions and artistic inheritance, through comprehensive analysis, we find that the survival conditions of the non-Yi Lang Muqam inheritors in Awati County are under great pressure for the inheritors to survive, the inheritors are inadequate, and the government protection efforts are insufficient. The cultural level of inheritors is not high, the structure of inheritors is out of balance, it is difficult to bring economic benefits, the structure of inheritance is single, the concept of inheritance is old-fashioned and so on. Aiming at these problems, the author puts forward specific and effective solutions from three aspects of policy protection, inheritance protection and development protection, in order to strengthen the protection of the inheritors and explore new development channels.
【學(xué)位授予單位】：塔里木大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2017
【分類號】：G127

【參考文獻】

相關(guān)期刊論文 前10條

1 賴偉權(quán);;地方高校圖書館對非物質(zhì)文化遺產(chǎn)的數(shù)字化保護研究[J];中國科教創(chuàng)新導(dǎo)刊;2012年28期

2 卓元卉;;從《非物質(zhì)文化遺產(chǎn)法》看我國非物質(zhì)文化遺產(chǎn)保護[J];龍巖學(xué)院學(xué)報;2012年04期

3 聶華林;王龍魁;殷雪;;非物質(zhì)文化遺產(chǎn)保護中傳承人與政府的策略互動研究——以蘭州鼓子為例[J];絲綢之路;2012年02期

4 佟玉權(quán);;非物質(zhì)文化遺產(chǎn)傳承人的保護與制度建設(shè)[J];文化學(xué)刊;2011年01期

5 何曉兵;;高校教育與維吾爾木卡姆的“可持續(xù)傳承”[J];廣播歌選;2010年08期

6 徐富平;;非物質(zhì)文化遺產(chǎn)傳承人身份認定及其意義[J];大眾文藝;2010年02期

7 徐輝鴻;;非物質(zhì)文化遺產(chǎn)傳承人的法律保護機制探討[J];理論導(dǎo)刊;2008年01期

8 苑利;顧軍;;非物質(zhì)文化遺產(chǎn)保護的十項基本原則[J];學(xué)習(xí)與實踐;2006年11期

9 祁慶富;;論非物質(zhì)文化遺產(chǎn)保護中的傳承及傳承人[J];西北民族研究;2006年03期

10 李榮啟;;淺論非物質(zhì)文化遺產(chǎn)的分類保護[J];廣西民族研究;2006年02期

，

本文編號：1820274