本文選題：七月官神　切入點(diǎn)：民間信仰　出處：《蘭州大學(xué)》2009年碩士論文　論文類(lèi)型：學(xué)位論文

【摘要】： 宗教儀式的概念從儀式學(xué)跨入音樂(lè)學(xué)領(lǐng)域,掀起了一股以香港中文大學(xué)和中國(guó)藝術(shù)研究院為主要研究團(tuán)體的儀式音樂(lè)研究熱潮,不僅形成了系統(tǒng)的理論架構(gòu),如信仰、儀式行為、儀式中的音聲二元理論結(jié)構(gòu)模式和近——遠(yuǎn)、內(nèi)——外、定——活三個(gè)基本兩極變量的思維方法等,而且將這些理論具體運(yùn)用于全國(guó)各地的儀式音樂(lè)普查工作中。 中國(guó)的音樂(lè)文化博大精深,各地區(qū)以及各地區(qū)內(nèi)部的儀式音樂(lè)不盡相同,因此在對(duì)西北地區(qū)的儀式音樂(lè)挖掘上,除了少數(shù)民族宗教儀式音樂(lè)之外,各研究者還應(yīng)看到并注重漢族民間信仰儀式中的音樂(lè)文化�！捌咴鹿偕瘛本褪沁@樣一種集道、佛、薩滿(mǎn)三教一體并融漢、滿(mǎn)、蒙、藏四個(gè)民族風(fēng)俗為一身的西北漢族所特有的民俗文化,是以雜姓村落為祭祀群社會(huì)類(lèi)型;以道教神、地方主神——白馬天子和八蠟田祖為祭祀對(duì)象;以宗族代表(宗爺、社頭)為儀式組織者;以外雇師公子班為主要祭祀者和音樂(lè)表演人;以道教科儀音樂(lè)和師公子跳神樂(lè)舞為主要音樂(lè)形式的社會(huì)性音樂(lè)祭祀禮儀。 非物質(zhì)文化遺產(chǎn)研究雖說(shuō)是一門(mén)新生學(xué)科,看似和儀式音樂(lè)毫不相干,但是它們卻相互包含,相互補(bǔ)充,共同作用于我國(guó)的傳統(tǒng)音樂(lè)文化的研究和保護(hù)。隨著“七月官神”被列入甘肅省級(jí)非物質(zhì)文化遺產(chǎn)的行列,筆者就將其儀式音樂(lè)的研究和非物質(zhì)文化遺產(chǎn)研究相互結(jié)合,全面考察“七月官神”的深層內(nèi)涵。
[Abstract]:The concept of religious ceremony has stepped into the field of musicology from ritualistic science. It has set off a wave of ritual music research with the Chinese University of Hong Kong and the Chinese Academy of Art as the main research groups. It has not only formed a systematic theoretical framework, such as belief. Ritual behavior, the structure model of phonological and acoustic dualistic theory in ritual and the thinking methods of near-distant, inner-outer and fixed -live basic polar variables, etc., and these theories are applied in the ritual music survey work all over the country. China's music culture is extensive and profound, and ritual music varies from region to region. Therefore, in the excavation of ritual music in the Northwest China, in addition to the religious ritual music of ethnic minorities, All researchers should also see and pay attention to the music culture in the ritual of Han folk belief. "the official God of July" is such a collection of Taoism, Buddha, shamanism and fusion of Han, Manchu, Meng, The unique folk culture of the Han nationality in Northwest China, which is composed of four Tibetan nationalities and customs, takes the village of miscellaneous names as the social type of sacrifice, takes the Taoist gods, the local main deities-the Baema Tianzi and the Baxi Tianzu as the objects of sacrifice; and takes the representatives of the clans (Zongyeh) as the sacrificial objects. Social music sacrificial etiquette with Taoist music and master son dance as the main music form. Although the study of intangible cultural heritage is a new subject, seemingly unrelated to ritual music, they are mutually inclusive and complementary. The research and protection of traditional music culture in China. With "official God" listed in the rank of intangible cultural heritage of Gansu Province in July, the author combined the research of ritual music with the study of intangible cultural heritage. A comprehensive investigation of the deep connotation of the official God in July.
【學(xué)位授予單位】：蘭州大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2009
【分類(lèi)號(hào)】：J609.2

【引證文獻(xiàn)】

相關(guān)期刊論文 前1條

1 柳旭輝;徐濤;;臨洮地區(qū)廟宇祭祀音樂(lè)綜合評(píng)述[J];河西學(xué)院學(xué)報(bào);2012年01期

相關(guān)會(huì)議論文 前1條

1 張彥麗;周琪;;淺析甘肅榆中“七月官神”節(jié)[A];西北語(yǔ)言與文化研究(第一輯)[C];2013年

，

本文編號(hào)：1637058