本文選題：吳語敘事山歌 + 演唱傳統(tǒng)��； 參考：《華東師范大學》2004年博士論文

【摘要】：吳語敘事山歌是指流行于吳語地區(qū)民間、用吳方言演唱的，有比較完整的故事情節(jié)、有兩個以上人物出場的韻文作品。根據(jù)篇幅長短，可分為短篇、中篇和長篇。上世紀八十年代初，隨著《五姑娘》的公開發(fā)表以及大量敘事山歌的相繼搜集整理，長篇吳語敘事山歌在學界引起了轟動，也曾發(fā)生過一場爭論，有人認為這是“偉大的發(fā)現(xiàn)”，打破了漢族無長篇敘事詩的定論，也有人對它的真實性表示質(zhì)疑，仁者見仁，智者見智。進入九十年代中期以后，因為中國民間文學界熱點轉(zhuǎn)向民俗學研究，對長篇吳語敘事山歌的研究也轉(zhuǎn)入低谷，但事實上仍有許多問題沒有得到真正的解決。本文從吳語敘事山歌的演唱傳統(tǒng)出發(fā)，以田野調(diào)查的第一手資料為基礎，結(jié)合文本分析，力求深入到它的“本體世界”之中，探求它的傳承、編創(chuàng)規(guī)律，，給它以合理的定位。 本文共分七章。內(nèi)容上大致可分為三個部分：第一章主要是吳語山歌、吳語敘事山歌發(fā)展史、搜集整理史、學術史的回顧，是一種學術上的梳理；第二、三章屬第二部分，是對吳語敘事山歌基本情況的分析和判斷，根據(jù)現(xiàn)已發(fā)掘的三十多首中長篇敘事山歌，分析它的主題類型、地域分布特征；從民間文化生態(tài)環(huán)境的角度探討其生成的各種內(nèi)外因素；第四、五、六、七章屬第三部分，也是本文的重點。主要探討敘事山歌是在怎樣的語境中演唱的，演唱的三種典型形態(tài)及其特點和功能，演唱傳統(tǒng)中逐漸形成的各種敘事類型套式，長期的山歌演唱傳統(tǒng)是如何模塑一代又一代敘事山歌歌手的，他們具有哪些共同的特點，歌手是如何傳承的，歌手在學唱的過程中有哪些技巧，他們是如何在演唱過程中采用“調(diào)山歌”手法將各種現(xiàn)成的套式巧妙地運用于敘事山歌的編創(chuàng)活動的等等。 通過上述初步研究，我認為吳語敘事山歌是吳語地區(qū)山歌演唱傳統(tǒng)發(fā)展的必然產(chǎn)物，是在短山歌基礎上逐漸豐滿、發(fā)展起來的，長期以來形成的豐富的、各個層次的套式，為歌手編創(chuàng)長篇敘事山歌積累了豐富的“材料”；山歌(包括敘事山歌)演唱是舊時吳語地區(qū)民眾生活的有機組成部分，它時刻伴隨著人們的生產(chǎn)、生活活動，是人們最主要的精神娛樂方式，同時也是他們思想情感的集中體現(xiàn)；吳語敘事山歌是優(yōu)秀歌手運用“調(diào)山歌”的手法編創(chuàng)而成的，它從來沒有固定的文本，一次演唱過程結(jié)束就標志著一次編創(chuàng)的完成，由于一次連貫演唱的機會較少，大多數(shù)情況下只能一套一套分時段演唱，每“套”可以單獨唱，也可以“連牢唱”，這種演唱習慣形成了其結(jié)構(gòu)松散、彈性大、生長點多的特點。總之，吳語敘事山歌是一種具有吳語文化特色的自成體系的活態(tài)的口頭敘事詩。
[Abstract]:The narrative folk songs of Wu dialect are popular folk songs in Wu dialect. They have relatively complete story plot and more than two characters appear in rhyme works. According to the length of space, can be divided into short, medium and long. In the early eighties of the last century, with the publication of "five Girls" and the collection and arrangement of a large number of narrative folk songs, the long Wu narrative folk songs caused a sensation in the academic circles, and there was also a debate. Some people think this is a "great discovery", which breaks the conclusion of the Han nationality without long narrative poetry, others question its authenticity. After entering the middle of 1990s, because the popular research of Chinese folk literature turned to folklore, the research on the long Wuyu narrative folk songs also turned to a low point, but in fact, there are still many problems that have not been really solved. Starting from the singing tradition of Wu language narrative folk songs, based on the firsthand data of field investigation and text analysis, this paper tries to go deep into its "Noumenon World", explore its inheritance, compile rules, and give it a reasonable orientation. This paper is divided into seven chapters. The content can be roughly divided into three parts: the first chapter is mainly Wu folk songs, the development history of Wu narrative folk songs, the collection and arrangement of history, the review of academic history, is an academic combing; second, three chapters belong to the second part. It is the analysis and judgment of the basic situation of Wu language narrative folk songs, according to the more than 30 long narrative folk songs that have been excavated, it analyzes its theme types and regional distribution characteristics. From the point of view of folk culture ecological environment, this paper discusses the various internal and external factors of its formation; the fourth, fifth, sixth and seventh chapters belong to the third part, which is also the focus of this paper. This paper mainly discusses the context in which narrative folk songs are sung, the three typical forms of singing and their characteristics and functions, and the forms of narrative styles gradually formed in the singing tradition. How has the long tradition of folk song singing molded generation after generation of narrative folk singers, what common characteristics they have, how the singers have passed on, and what skills the singers have in the process of learning to sing. How do they use "tune folk songs" in the singing process to skillfully apply all kinds of ready-made patterns to the creation of narrative folk songs and so on. Through the above preliminary study, I believe that the narrative folk songs of Wu dialect are the inevitable products of the traditional development of folk songs singing in Wu dialect areas, and are gradually full and developed on the basis of short folk songs. A rich "material" has been accumulated for the creation of long narrative folk songs for singers. Singing folk songs (including narrative folk songs) is an organic part of the life of the people in the old Wu dialect area, and it is always accompanied by people's production and life activities. It is the most important form of spiritual entertainment for people, and it is also a concentrated embodiment of their thoughts and feelings. The narrative folk songs of Wu dialect were created by excellent singers using the technique of "tune the folk songs," and they have never had a fixed text. The end of a singing process marks the completion of a compilation and creation. As there are fewer opportunities for a coherent performance, in most cases only one set of singing periods can be performed, each "set" can be sung individually or "even in prison." This singing habit forms its structure loosely, the elasticity is big, the growth point is many characteristic. In a word, the narrative folk song of Wu dialect is a kind of oral narrative poem with unique cultural characteristics of Wu dialect.
【學位授予單位】：華東師范大學
【學位級別】：博士
【學位授予年份】：2004
【分類號】：J607

【引證文獻】

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本文編號：1931667