河南舞鋼軋箏音樂文化考察報(bào)告
發(fā)布時(shí)間：2018-07-28 11:02
【摘要】：本文研究的“軋箏”原是唐代出現(xiàn)的新型樂器，它雖名為“箏”，實(shí)際卻是拉弦樂器，后來在整個(gè)東亞有廣泛的流傳，舞鋼“軋箏”的存在，證明了古代音樂傳播的發(fā)展與輝煌。本文正是以“舞鋼軋箏”為基本的研究對(duì)象，以此為中心，并將其放置在整個(gè)東亞音樂的視野中，來進(jìn)行考察，同時(shí)從理論上進(jìn)入歷史視野，采用了王國維先生提出的“二重證據(jù)法”，來進(jìn)行立體的考察。一方面從古代的歷史文獻(xiàn)出發(fā)，考察有關(guān)軋箏記載的文字考釋，圖像特征，音樂功能等內(nèi)容；另一方面從出土的文物出發(fā)，注重考古報(bào)告對(duì)軋箏的記載與描述，結(jié)合音樂圖像學(xué)的方法，對(duì)舞鋼軋箏與山西南北兩處的軋箏，以及山東軋箏、福建軋箏、朝鮮日本軋箏進(jìn)行了比較，確立了舞鋼軋箏的歸屬。此外，結(jié)合音樂社會(huì)學(xué)的考察，筆者梳理了樂人的人口流動(dòng)帶來的樂器變異，考察舞鋼軋箏的來源，基本上把軋箏定位于山西南部，確定了舞鋼軋箏的物質(zhì)來源。 從歷史維度來講，本文通過對(duì)古代文獻(xiàn)的檢索，結(jié)合當(dāng)代學(xué)者的研究成果，將舞鋼軋箏的生成和來源，放入整個(gè)音樂史的領(lǐng)域，考察了“箏”、“軋箏”名稱的來源以及，它們與整個(gè)“弓弦樂器”、“彈撥樂器”的關(guān)聯(lián)，來梳理了“軋箏”的名稱發(fā)展的歷史過程。 就其形制來講，本文以音樂圖像學(xué)、音樂考古學(xué)為基本的方法，結(jié)合山西等地出土的“軋箏”文物，將其與“舞鋼軋箏”進(jìn)行對(duì)比，來尋找舞鋼軋箏的歸屬，，同時(shí)又將舞鋼軋箏與現(xiàn)存的山東、河北、廣西、韓國、日本等地的軋箏等相關(guān)的近親樂器進(jìn)行橫向比較，從音樂的樂器形態(tài)來定位舞鋼軋箏的歸屬問題。 音樂的傳承是以樂人為中心的，就音樂學(xué)來講，民族音樂學(xué)和音樂人類學(xué)是研究民間音樂文化的重要理論武器，筆者正是在以音樂學(xué)研究為基本的前提下，從民族音樂學(xué)的田野考察出發(fā)，通過社會(huì)學(xué)和民俗學(xué)的方法對(duì)河南省舞鋼縣的軋箏音樂文化活動(dòng)進(jìn)行全面的實(shí)地考察，通過對(duì)舞鋼軋箏傳譜，樂人的演奏進(jìn)行采訪、錄制，通過音樂形態(tài)的本體，來考察舞鋼軋箏的音樂特征與具體屬性。 就音樂的形態(tài)而言，筆者通過對(duì)舞鋼軋箏的具體考察，筆者分析了它所屬的“轅門大調(diào)曲子”，其實(shí)是河南“大調(diào)曲子”的分支，在音樂的形態(tài)上、樂器樂人的組合形態(tài)上、音樂的曲目內(nèi)容上，基本上都是與河南省整體的“大調(diào)曲子”相重合的。所以筆者認(rèn)為，舞鋼軋箏的聲音形態(tài)（音樂形態(tài)）已經(jīng)基本脫離了它的來源地山西音樂的影響，主動(dòng)融入到了河南音樂當(dāng)中，發(fā)生了根本上的變異。 音樂文化是人類文化的一個(gè)重要分支，它伴隨著人類社會(huì)的發(fā)展歷程，要考察音樂文化的文化功能，則必須將音樂放置于整個(gè)社會(huì)文化之中，考察它的文化功能與意義。筆者正是從音樂的文化功能出發(fā)，通過對(duì)舞鋼軋箏的傳承方式、演奏曲目隨著時(shí)代發(fā)展的創(chuàng)新與變化，并回到歷史當(dāng)中，分析了舞鋼軋箏的文化功能，它在古代具備著高臺(tái)說教的教育功能，以及在新時(shí)代的發(fā)展中，融入了新時(shí)代的文化特質(zhì)，實(shí)現(xiàn)了文化功能的繼承和對(duì)新時(shí)代謳歌的特點(diǎn)。本文通過歷史學(xué)、音樂學(xué)、文化學(xué)的方法來整體定位和研究舞鋼軋箏的音樂問題。
[Abstract]:In this paper, "Zheng" was originally a new musical instrument that appeared in the Tang Dynasty. Although it was called "Zheng", it was actually a string instrument, and it was widely spread throughout East Asia. The existence of "Zheng" in Wugang proved the development and brilliance of the spread of ancient music. This article is based on "Wugang Zheng" as the basic research object, taking this as the center, and It is placed in the view of the whole East Asian music to investigate, and at the same time, from the theoretical point of view, the "double evidence law" proposed by Mr. Wang Guowei is used to conduct a three-dimensional investigation. On the one hand, from the unearthed cultural relics, we pay attention to the record and description of the archeological report on the zither, and combine the methods of music iconography, compare the zither Wugang Zheng and the two parts of Shanxi, as well as Shandong Zheng, Fujian Zheng, and Korean zither in Japan, and establish the ownership of the Wugang zither. The variation of musical instruments brought by the people's population flow was combed, and the origin of Wugang Zheng was investigated. The zither was basically located in the southwest of the mountain, and the material source of Wugang Zheng was determined.
From the historical point of view, through the retrieval of ancient literature and the research results of contemporary scholars, the generation and source of Wugang Zheng is put into the field of the whole history of music, and the origin of "Zheng" and "Zheng" name are investigated, and they are related to the whole "bow string" and "plucked instrument" to comb the "Zheng". The historical process of the development of the name.
As far as its form is concerned, this article, with the basic method of musical iconology and musical archaeology, combines the "Zheng" antiquities unearthed in Shanxi and other places, and compares it with "Wugang Zheng" to find the ownership of Wugang zither, and at the same time, the guzheng and other close relatives in Wugang, Shandong, Hebei, Guangxi, Korea and Japan. Horizontal comparison of musical instruments, from the musical instrument form to locate the ownership of Wugang guzheng.
The inheritance of music is centered on the music. In terms of musicology, ethnomusicology and musical anthropology are important theoretical weapons for the study of folk music culture. On the basis of the study of musicology, the author, starting from the field investigation of ethnomusicology, makes the rolling of Wugang County in Henan province by means of social science and folklore. The music cultural activities of the Zheng are carried out in an all-round way. Through the interview and recording of Wugang Zheng's zither spectrum, music player's performance, and through the noumenon of musical form, the music features and specific properties of Wugang Zheng are investigated.
As far as the form of music is concerned, the author, through the specific investigation of the Wugang zither, analyzes the "Tunes" which it belongs to. In fact, it is the branch of the "tune of the major" in Henan. In the form of music, the composition of musical instruments and the content of the music is basically the "tune of the major" in the whole of Henan. So the author thinks that the sound form (musical form) of Wugang Zheng has basically separated from the influence of Shanxi music from its source, and has taken the initiative into the music of Henan and has undergone fundamental variation.
Music culture is an important branch of human culture. It is accompanied by the development of human society. To examine the cultural function of music culture, it must be placed in the whole social culture to examine its cultural function and significance. The author is starting from the cultural work of music and playing the inheritance mode of Wugang Zheng. With the innovation and change of the times and back to the history, the repertoire analyses the cultural function of Wugang Zheng. It has the educational function of high platform sermon in ancient times, and in the development of the new era, it integrates the cultural characteristics of the new era, realizes the successor of the cultural function and eulogize the new era. Musicology and culturology approach to locate and study the music problem of Wugang Zheng Zheng.
【學(xué)位授予單位】：河南師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2012
【分類號(hào)】：J609.2
本文編號(hào)：2149910
[Abstract]:In this paper, "Zheng" was originally a new musical instrument that appeared in the Tang Dynasty. Although it was called "Zheng", it was actually a string instrument, and it was widely spread throughout East Asia. The existence of "Zheng" in Wugang proved the development and brilliance of the spread of ancient music. This article is based on "Wugang Zheng" as the basic research object, taking this as the center, and It is placed in the view of the whole East Asian music to investigate, and at the same time, from the theoretical point of view, the "double evidence law" proposed by Mr. Wang Guowei is used to conduct a three-dimensional investigation. On the one hand, from the unearthed cultural relics, we pay attention to the record and description of the archeological report on the zither, and combine the methods of music iconography, compare the zither Wugang Zheng and the two parts of Shanxi, as well as Shandong Zheng, Fujian Zheng, and Korean zither in Japan, and establish the ownership of the Wugang zither. The variation of musical instruments brought by the people's population flow was combed, and the origin of Wugang Zheng was investigated. The zither was basically located in the southwest of the mountain, and the material source of Wugang Zheng was determined.
From the historical point of view, through the retrieval of ancient literature and the research results of contemporary scholars, the generation and source of Wugang Zheng is put into the field of the whole history of music, and the origin of "Zheng" and "Zheng" name are investigated, and they are related to the whole "bow string" and "plucked instrument" to comb the "Zheng". The historical process of the development of the name.
As far as its form is concerned, this article, with the basic method of musical iconology and musical archaeology, combines the "Zheng" antiquities unearthed in Shanxi and other places, and compares it with "Wugang Zheng" to find the ownership of Wugang zither, and at the same time, the guzheng and other close relatives in Wugang, Shandong, Hebei, Guangxi, Korea and Japan. Horizontal comparison of musical instruments, from the musical instrument form to locate the ownership of Wugang guzheng.
The inheritance of music is centered on the music. In terms of musicology, ethnomusicology and musical anthropology are important theoretical weapons for the study of folk music culture. On the basis of the study of musicology, the author, starting from the field investigation of ethnomusicology, makes the rolling of Wugang County in Henan province by means of social science and folklore. The music cultural activities of the Zheng are carried out in an all-round way. Through the interview and recording of Wugang Zheng's zither spectrum, music player's performance, and through the noumenon of musical form, the music features and specific properties of Wugang Zheng are investigated.
As far as the form of music is concerned, the author, through the specific investigation of the Wugang zither, analyzes the "Tunes" which it belongs to. In fact, it is the branch of the "tune of the major" in Henan. In the form of music, the composition of musical instruments and the content of the music is basically the "tune of the major" in the whole of Henan. So the author thinks that the sound form (musical form) of Wugang Zheng has basically separated from the influence of Shanxi music from its source, and has taken the initiative into the music of Henan and has undergone fundamental variation.
Music culture is an important branch of human culture. It is accompanied by the development of human society. To examine the cultural function of music culture, it must be placed in the whole social culture to examine its cultural function and significance. The author is starting from the cultural work of music and playing the inheritance mode of Wugang Zheng. With the innovation and change of the times and back to the history, the repertoire analyses the cultural function of Wugang Zheng. It has the educational function of high platform sermon in ancient times, and in the development of the new era, it integrates the cultural characteristics of the new era, realizes the successor of the cultural function and eulogize the new era. Musicology and culturology approach to locate and study the music problem of Wugang Zheng Zheng.
【學(xué)位授予單位】：河南師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2012
【分類號(hào)】：J609.2
【參考文獻(xiàn)】
相關(guān)期刊論文 前4條
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2 湯亞汀;西方民族音樂學(xué)之樂器學(xué)[J];音樂研究;2000年01期
3 項(xiàng)陽;山西省幾處軋箏的資料分析[J];樂器;1995年01期
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本文編號(hào)：2149910
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