【摘要】： 本課題的研究屬區(qū)域民族學和比較音樂學范疇，研究方法上涉及形態(tài)學、地理學、語言學、民俗學、心理學等多門學科；力圖突破以往背景+形態(tài)=文化的簡單的標簽化公式，注重將音樂視為民族傳統(tǒng)文化的有機組成部分，從音樂與所根植的物質(zhì)文化和精神文化之間的內(nèi)在關(guān)系來探索各民族音樂的歷史、現(xiàn)狀和衍變規(guī)律，闡述其民族音樂的基本特征、民族文化特質(zhì)。 本文通過對湘西保靖縣苗族、土家族民歌個案的具體分析、比較研究，揭示該雜居地區(qū)苗族、土家族民歌的各自特色：苗族民歌頑強保持了自身民族特質(zhì)；土家族民歌則更多地呈現(xiàn)出與它民族音樂的交融現(xiàn)象。在揭示兩族民歌發(fā)展變化所形成的兩種不同基本模式——保持型模式與變化型模式的基礎(chǔ)上，力圖發(fā)掘其音樂形態(tài)背后的內(nèi)在成因，籍以深入地把握不同民族音樂的自身特征，并對兩族民歌發(fā)展的過程作出初步闡釋。 苗族、土家族由于所處的具體地理環(huán)境、語言體系、民族淵源及心理諸方面的生態(tài)結(jié)構(gòu)的差異，導致其受它民族特別是漢族文化的影響程度不同，其民歌的發(fā)展道路有很大差異：苗族民歌自成系統(tǒng)，具有相對的保守性、穩(wěn)定性；土家族民歌則既保持著原有的文化因素，，又更多地包容、吸收了許多外來文化因素，特別是漢族文化因子，因此，其民歌具有一定程度的融合性特征�？偟目磥恚好缱迕窀韪嗟卦诳v向繼承方面繼承與保持了本民族特色，但卻使其音樂長期處于封閉狀態(tài)，發(fā)展受到一定限制；土家族民歌側(cè)重在橫向借鑒方面對漢族和其它兄弟民族音樂予以靈活吸收、融合與發(fā)展，但相對來說，其民歌的民族特征卻明顯淡化。
[Abstract]:The research of this subject belongs to the category of regional ethnology and comparative musicology. The research methods involve many subjects, such as morphology, geography, linguistics, folklore, psychology and so on. Trying to break through the simple tagging formula of the former background form = culture, and pay attention to the music as an organic part of the traditional culture of the nation. From the internal relationship between music and the material culture and spiritual culture, this paper explores the history, present situation and evolution law of the music of various nationalities, and expounds the basic characteristics and the characteristics of the national culture of the national music. Through the concrete analysis and comparative study of Miao and Tujia folk songs in Baojing County of Western Hunan, this paper reveals the respective characteristics of the Miao and Tujia folk songs in this mixed area: the Miao folk songs tenaciously maintain their own national characteristics; Tujia folk songs show more blending with other folk music. On the basis of revealing two kinds of different basic models formed by the development and change of folk songs of the two groups, the author tries to find out the internal causes behind the musical form of the two kinds of folk songs and to grasp the characteristics of different folk music deeply. And the development of folk songs of the two communities made a preliminary interpretation of the process. The Miao nationality and Tujia nationality are influenced by the culture of other nationalities, especially the Han nationality, because of the differences in their specific geographical environment, language system, national origin and psychology. The development path of its folk songs is very different: the Miao folk songs have their own system, relatively conservative and stable; Tujia folk songs not only maintain the original cultural factors, but also more tolerance, absorbing many foreign cultural factors, especially the Han cultural factors, therefore, its folk songs have a certain degree of integration characteristics. In general, the Miao folk songs inherit and maintain their own national characteristics in the vertical inheritance, but their music is in a closed state for a long time, and their development is limited to a certain extent; Tujia folk songs focus on the horizontal reference to the Han and other brothers of national music to be flexible absorption, integration and development, but relatively speaking, the national characteristics of its folk songs are obviously desalinated.
【學位授予單位】：華南師范大學
【學位級別】：碩士
【學位授予年份】：2004
【分類號】：J607

【引證文獻】

相關(guān)期刊論文 前2條

1 王雅琴;;論民歌的沉寂[J];哈爾濱學院學報;2007年02期

2 劉潔;;湘西苗歌及演唱特點探究[J];黃河之聲;2012年04期

相關(guān)碩士學位論文 前4條

1 雷惠玲;湘西苗族民歌演唱藝術(shù)研究[D];湖南師范大學;2006年

2 田中娟;論浙西南香菇山歌的經(jīng)濟民俗特質(zhì)[D];上海音樂學院;2006年

3 田s

本文編號：2294703