【摘要】：本文用“從文化脈絡(luò)中研究音樂和從音樂中理解文化”的方法，研究廣西灌陽縣上鄉(xiāng)喪葬音樂。論文闡述了灌陽縣上鄉(xiāng)喪葬音樂得以產(chǎn)生的地理文化背景、灌陽縣上鄉(xiāng)喪葬音樂的類型操作、本體形態(tài)，并探究了其中蘊(yùn)含的文化意義。 灌陽縣上鄉(xiāng)喪葬音樂，存活在歷史上屬于湘楚的、較封閉的地理文化環(huán)境中，有“孝歌、道師音樂、哭”三類。簡稱“三樂”。 “孝歌”由歌手們晚上在靈堂演唱，旋律由板誦型和歌唱型音調(diào)構(gòu)成。 “道師音樂”由道師們操作，有法事音樂和響樂師音樂兩部分。法事音樂有“念、唱、奏”三類�！澳睢钡囊粽{(diào)由三聲腔向兩端擴(kuò)展構(gòu)成�！俺钡囊粽{(diào)是一個自“羽”音五聲級進(jìn)下行的結(jié)構(gòu)�！白唷钡囊粽{(diào)同“唱”，但少了凄婉，多了自由、活潑。響樂師音樂是一些曲牌音樂。 “哭”由孝家女性親屬操作，音調(diào)為自“徵”音五聲級進(jìn)下行的結(jié)構(gòu)。 喪葬音樂的三種類型雖然由不同的人具體操作，但卻是在以亡者為中心的同一場地、同一時間內(nèi)演示。本文指出了喪葬儀式活動中原生態(tài)的三樂共響現(xiàn)象，闡述它驚動天、地、人三界的無邊功力；提出三靈空間概念，說明其相互關(guān)系；提出三靈時間概念，解釋其特點(diǎn)。本文詮釋了三樂共響所造成的對于三靈空間的破域和三靈時間的超越，，窺探當(dāng)?shù)鼐用耜P(guān)于喪葬文化的時空觀和道德觀。 上述諸方面，愿能填補(bǔ)灌陽縣乃至中國喪葬音樂研究的一些空白。并對我國的民族音樂理論建設(shè)提供一點(diǎn)參考。
[Abstract]:Using the method of "studying music from cultural context and understanding culture from music", this paper studies the music of burial in Shangxiang, Guanyang County, Guangxi. This paper expounds the geographical and cultural background of the funeral music in Shangxiang County of Guanyang County, the types and forms of funeral music in Shangxiang County of Guanyang County, and probes into the cultural significance contained therein. Guanyang County Shangxiang funeral music, living in the history of Xiangchu, more closed geographical and cultural environment, there are "filial piety song, Taoist music, crying" three types. Abbreviated to "three Music". Song of filial piety is sung by singers in Lingtang at night. The melody is composed of chanting and singing tones. Taoist Music is operated by Taoists. There are two parts of Daoist Music and Orchestra Music. There are three kinds of music: recitation, singing and playing. The tone of "read" consists of a three-tone expansion toward both ends. The tone of singing is a structure that moves downwards from the five levels of the Feather. The tone of the play is the same as the song, but less melancholy, more free, more lively. A musician's music is some piece of music. Cry is operated by female relatives of filial piety. Although the three types of funeral music are operated by different people, they are demonstrated at the same place and at the same time. This paper points out the phenomenon of "three music and co-ringing" in the original ecology in funeral ceremony, expounds its boundless power of stirring up the sky, earth and human beings, puts forward the concept of "three spirits" space, explains the relationship between them, and puts forward the concept of "three spirits" time and explains its characteristics. This paper interprets the transcendence of the three spirits' space and the time of the three spirits caused by the three music symphonies, and probes into the local residents' views on the time and space and morality of the funeral culture. The above aspects wish to fill in some gaps in the study of funeral music in Guanyang County and even China. And to our country's national music theory construction provides a little reference.
【學(xué)位授予單位】：福建師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2004
【分類號】：J605

【引證文獻(xiàn)】

相關(guān)碩士學(xué)位論文 前2條

1 吳越;福建寧化治平池氏關(guān)刀文武花燈祭祖儀式音樂文化研究[D];福建師范大學(xué);2011年

2 肖威;大林鎮(zhèn)喪葬儀式音樂研究[D];河南大學(xué);2012年

本文編號：2398990