【摘要】：班社是指一個民族支系或民族社區(qū)內(nèi)部被某一特定的傳統(tǒng)音樂實踐活動維系在一起的共同協(xié)作操縱某類音樂品種的、并在組織結(jié)構(gòu)上居有相對穩(wěn)定性的最小群體。哈密木卡姆是維吾爾古老的、傳統(tǒng)的民間歌舞套曲之一,隨著不斷發(fā)展演變的歷史過程,我們要對其進行傳承、保護和發(fā)展,都離不開對民間木卡姆班社的研究。作為具有濃郁地方文化特色的哈密木卡姆班社,他們的生活既同于普通農(nóng)民,但又有區(qū)別。作為音樂建構(gòu)者(music making),其雙重角色在整體生活中的體現(xiàn)需要深入研究和把握。從班社成員的社會地位、身份,音樂的建構(gòu)(演奏曲目、演奏樂器、表演方式)及其在民俗活動中的整體表現(xiàn)等多方面體現(xiàn)班社的整體文化面貌。 本文希望闡述的核心是:對于維吾爾民間傳統(tǒng)音樂建構(gòu)者的整體音樂生活進行“深入的描述”,通過對班社音樂建構(gòu)過程的描述了解哈密地區(qū)維吾爾民間音樂體系的地方性特點。全文除緒論外,正文部分共分為五個部分: 第一部分,從地理位置、歷史沿革、哈密維吾爾文化的形成和哈密木卡姆的分布情況以及演繹班社的特點這四方面對哈密木卡姆形成的文化背景以及分布情況加以概述,試圖揭示哈密木卡姆的地域性特點與其文化背景之間的關(guān)系; 第二部分,對淖毛湖鎮(zhèn)木卡姆班社的現(xiàn)狀進行描述,從地緣特征、歷史沿革、班社生存環(huán)境、班社傳承方式、淖毛湖鎮(zhèn)木卡姆班社成員和班社成員特征這六方面全面闡述木卡姆班社的存在現(xiàn)狀。 第三部分,通過對哈密淖毛湖鎮(zhèn)維吾爾族的一系列民俗活動的介紹以及民俗活動中班社的表現(xiàn)。闡釋淖毛湖鎮(zhèn)木卡姆班社的音樂形態(tài)特征;第四部分,任何一個班社都是依附于民俗活動而存在的,民俗活動對于班社來說是表演空間,而班社對于民俗活動來說是必不可少的傳承媒介。 結(jié)論部分,隨著經(jīng)濟的發(fā)展,全球化進程加快�，F(xiàn)代化正逐步覆蓋全世界每一個角落,淖毛湖鎮(zhèn)的經(jīng)濟發(fā)展速度之快使其成為一個具有代表性的中國新農(nóng)村。隨著交通的改善與網(wǎng)絡(luò)化的發(fā)展趨勢,電視、電腦、互聯(lián)網(wǎng)、手機、DVD機等現(xiàn)代化的工具成為淖毛湖鎮(zhèn)大部分農(nóng)民家庭的主要娛樂媒體。據(jù)筆者觀察,在大多數(shù)麥西萊甫聚會中,有部分節(jié)目是由DVD機播放的維吾爾族流行音樂取而代之的,班社的演出機會隨之減少。保護班社任務(wù)迫在眉睫。筆者發(fā)現(xiàn),淖毛湖鎮(zhèn)木卡姆班社的藝人比例嚴(yán)重失調(diào),藝人依然按照傳統(tǒng)的女鼓手傳承方式來傳承木卡姆,而對于男藝人的培養(yǎng)和傳承沒有足夠重視。在現(xiàn)今社會發(fā)展的環(huán)境下,男藝人的缺失對于班社的生存產(chǎn)生威脅。最后,筆者對班社未來發(fā)展提出了幾點建議。
[Abstract]:Ban she refers to the smallest group with relative stability in the organizational structure within a national branch or community which is controlled by a certain kind of music by the cooperation of a particular traditional music practice. Hami Mukam is one of the ancient and traditional folk songs and dances in Uygur. With the development of the historical process, we must inherit, protect and develop it. As the Hami Mukambane with strong local cultural characteristics, their lives are not only the same as ordinary peasants, but also different. As a music constructor, (music making), 's dual role in the whole life needs to be deeply studied and grasped. The social status, identity, the construction of music (playing music, playing musical instruments, performing ways) and their overall performance in folklore activities reflect the overall cultural outlook of Banshe. The core of this paper is: the "deep description" of the whole music life of the Uygur folk traditional music constructors. By describing the construction process of banshe's music, the local characteristics of Uygur folk music system in Hami area are understood. In addition to the introduction, the text is divided into five parts: the first part, from the geographical location, historical evolution, The formation of Hami Uygur culture and the distribution of Hami Mukam, as well as the characteristics of deductive Banchams, summarize the cultural background and distribution of Hami Mukam. This paper attempts to reveal the relationship between Hami Mukam's regional characteristics and his cultural background. The second part describes the current situation of Mukam Banchai in Naomaohu Town, from the geographical characteristics, historical evolution, Banca survival environment, Banca inheritance, In this paper, the present situation of Mukam banshe is expounded in six aspects: the member of Mukam club and the character of the member of Mukam club. The third part introduces a series of folklore activities of Uygur nationality in Haminaomaohu Town and the performance of Bancan Society in folklore activities. To explain the music morphological characteristics of Mukam Banshe in Naomaohu town; In the fourth part, any class society is dependent on folklore activities, folklore activities are the performance space, and banshe is an indispensable medium for folklore activities. The conclusion part, along with the economic development, the globalization process speeds up. Modernization is gradually covering every corner of the world. The rapid economic development of Naomaohu Town makes it a representative new rural area in China. With the improvement of transportation and the development trend of network, modern tools such as TV, computer, Internet, mobile phone and DVD machine become the main entertainment media of most peasant families in Naomaohu Town. According to the author's observation, some of the programs were replaced by Uighur pop music played on the DVD machine in most of the Masilaifu parties, and the opportunities for Banchai to perform were reduced. The task of protecting the club is urgent. The author found that the proportion of artists in Mukam Banshe of Naomaohu Town is seriously dissonant, and the artists still pass on Mukam according to the traditional inheritance of female drummers, but they do not pay enough attention to the cultivation and inheritance of male entertainers. In the present social development environment, the lack of male artists threatens the survival of Banshe. Finally, the author puts forward some suggestions for the future development of Banshe.
【學(xué)位授予單位】：新疆師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2010
【分類號】：J607

【引證文獻】

相關(guān)期刊論文 前1條

1 王建朝;;一方女人的音樂世界——社會性別視角下的伊吾縣哈密木卡姆之女性木卡姆奇的調(diào)查研究[J];黃鐘(中國.武漢音樂學(xué)院學(xué)報);2013年01期

相關(guān)碩士學(xué)位論文 前1條

1 董冰;哈密木卡姆班社調(diào)查研究[D];新疆師范大學(xué);2012年

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本文編號：2311096