本文選題：信仰　切入點(diǎn)：信仰音樂(lè)　出處：《上海音樂(lè)學(xué)院》2004年博士論文

【摘要】：本篇論文探討江蘇省和浙江省交界處太湖地區(qū)的民間信仰音樂(lè)，以從民俗學(xué)的角度審視民間信仰音樂(lè)作為本文思考的命題，并以解釋民俗與信仰音樂(lè)的關(guān)系、以及信仰音樂(lè)本體的特點(diǎn)作為本文論述的基礎(chǔ)。 研究的目的是想把自己的思考點(diǎn)從音樂(lè)本身?yè)Q位出來(lái)，轉(zhuǎn)到民俗的角度重新審視太湖地區(qū)的民間信仰音樂(lè)。以前對(duì)太湖地區(qū)的民間信仰音樂(lè)是個(gè)盲區(qū)，或被稱(chēng)作是禁區(qū)，所以音像資料和音樂(lè)文獻(xiàn)書(shū)籍都很匱乏，，我的研究是想填補(bǔ)這個(gè)空白點(diǎn)。 起初時(shí)，儀式、圖騰、歌、舞、說(shuō)、演都混為一體。后逐步分開(kāi)，形成祭祀儀式、美術(shù)、歌唱、舞蹈、曲藝、戲曲，但幾乎都要與音樂(lè)發(fā)生聯(lián)系，有的是關(guān)系極為密切。 趨利避邪、求吉祛災(zāi)、祈祥除害，這是太湖民間信仰民俗文化的根源思想，一切的祭祀儀式、禮俗儀式、廟會(huì)、村社、家賧等等，均是出自這種功利性的心理。 民間信仰音樂(lè)不完全是一般意義上的音樂(lè)，不能用專(zhuān)業(yè)音樂(lè)的尺度去衡量它。民間信仰音樂(lè)是民俗的藝術(shù)展現(xiàn)，與民俗緊緊結(jié)合在一起成為一個(gè)不可分割的整體，是兼有民俗和藝術(shù)雙重功能的傳統(tǒng)形式，它總是以特定的方式——民俗意識(shí)的潛在規(guī)范，以大眾欣賞、傳播民俗的習(xí)慣滲入了以往音樂(lè)的歷史鎖鏈。 一般民眾的理解：祭祀儀式中的“歌唱”即是一種與神靈的“說(shuō)話(huà)”形式，以旋律承載實(shí)詞的呈現(xiàn)方式，訴說(shuō)其“說(shuō)話(huà)”的內(nèi)容，甚至可以說(shuō)旋律的本身就是信仰音樂(lè)中的“說(shuō)話(huà)”。 隨著社會(huì)文化統(tǒng)一趨勢(shì)，民間信仰音樂(lè)必然要發(fā)生衰落、改變、提高的過(guò)程， 其中一部分融入藝術(shù)音樂(lè)，一部分依!}l存川，另一部分衰亡。屆時(shí)，新的民間信 仰音樂(lè)又將產(chǎn)生，進(jìn)行新一輪的循環(huán)，永遠(yuǎn)依此規(guī)律發(fā)展。 本篇論文分為[太湖地區(qū)民間信仰]、[太湖地區(qū)民間信仰音樂(lè)〕和[太湖地 區(qū)民間信仰音樂(lè)的底蘊(yùn)〕三大部分。并提供大量的實(shí)地拍攝的照片、錄像和通過(guò) 錄音記錄的樂(lè)譜。 其中第一部分介紹了太湖地區(qū)特有的并且是大量的民間信仰;第丁二部分詳盡 地展現(xiàn)了太湖地區(qū)民問(wèn)信仰音樂(lè)中的神歌、禮樂(lè)、‘改卷和俗舞;第三部分論述了 太湖地區(qū)民間信仰音樂(lè)的生存土壤、特性功用和藝術(shù)審美。 通過(guò)對(duì)太湖地區(qū)民間信仰音樂(lè)的研究，把目前還存在的真實(shí)的信仰儀式、音 樂(lè)和背景展示出來(lái)，以便日后作進(jìn)一步的研究。
[Abstract]:This paper discusses Jiangsu province and Zhejiang province at the junction of the Taihu area folk beliefs of music, music to examine the folk belief from the perspective of folklore as the thinking proposition, and to explain the relationship between folk music and faith, and faith based characteristics of music ontology as the discussion.
The purpose of the study is to point out their own thinking transposition of the music itself, to re-examine the folk beliefs in Taihu province folk music angle. Used to be a blind spot in the Taihu area folk beliefs or music, is called the forbidden area, so the audio-visual materials and music books are very scarce, my study is to fill this point blank.
At the beginning, ritual, totem, song, dance, speaking and acting were mixed into one. After that, they gradually separated into ritual ritual, art, singing, dancing, quyi, and traditional opera, but almost all had to be related to music, and some were very closely related.
The profit for Kyrgyzstan evil, dispel the disaster, praying lucky pesticides, this is the origin of folk belief in Taihu folk culture thought, ritual, all ceremonies, temple, village, home to pursue and so on, are from the utilitarian mentality.
The folk belief is not a general sense of music, music, music can not use professional scale to measure it. The folk belief is the folk music and folk art show, closely together become an integral whole, is to have dual function of folk and traditional art form, it is always in a specific potential specification the way of folk consciousness, to the public to enjoy, the dissemination of folk music history in the past habits into chains.
The general public understanding: the ritual of "singing" is a kind of divine and "speak" to form, melody bearing the presentation of content words, tell the "talking", and even can be said to the melody of the music itself is the belief of "speaking".
With the unified trend of social culture, folk belief music is bound to decline, change, and improve the process,
Part of it is integrated into the art of music, part of it!}l saves Sichuan, the other part decays. Then, new folk letters
The music will come up again, carry on a new round of circulation, and always develop according to this rule.
This paper is divided into [Taihu folk belief], [folk belief music in Taihu] and [Taihu land]
There are three parts of the folk belief music. And provide a large number of photos, videos and passage on the field.
A music record for recording.
The first part introduces the unique and a large number of folk beliefs in the Taihu region; part two is detailed.
In the third part, the third part discusses the song of the people's belief in music, the rites and music, the rewinding and the vulgar dance.
The subsistence soil, the characteristic function and the artistic aesthetic of the folk belief music in Taihu area.
Through the study of folk belief music in the Taihu area, the present true religious rites,
The background music and display, in order to make a further research on the day after.

【學(xué)位授予單位】：上海音樂(lè)學(xué)院
【學(xué)位級(jí)別】：博士
【學(xué)位授予年份】：2004
【分類(lèi)號(hào)】：J607

【引證文獻(xiàn)】

相關(guān)博士學(xué)位論文 前1條

1 李萍;無(wú)錫宣卷儀式音聲研究—宣卷之儀式性重訪[D];上海音樂(lè)學(xué)院;2012年

相關(guān)碩士學(xué)位論文 前2條

1 侯弦;藍(lán)關(guān)戲音樂(lè)構(gòu)成與文化傳承研究[D];天津音樂(lè)學(xué)院;2012年

2 喻霓;民間老藝人在漢調(diào)二黃傳承中的多元解讀[D];西安音樂(lè)學(xué)院;2008年

本文編號(hào)：1656038