本文關(guān)鍵詞： 傣族 撣族 象腳鼓 樂(lè)器文化 比較研究　出處：《中國(guó)音樂(lè)學(xué)院》2014年碩士論文　論文類(lèi)型：學(xué)位論文

【摘要】：中國(guó)傣族與緬甸撣族是兩個(gè)同源的跨界民族，兩個(gè)民族都是由漢代百越中的一支滇越為發(fā)展源頭，并在公元之初或1世紀(jì)時(shí)，從珠江西遷至中國(guó)云南省中部。公元8世紀(jì)一部分又逐步遷徙到緬甸地區(qū)繁衍生息。作為同源的跨界民族，傣族與撣族在生產(chǎn)、生活、信仰和文化等方面均有著緊密的血緣關(guān)系。從生產(chǎn)上看，兩者都屬于農(nóng)耕民族，無(wú)論從我國(guó)傣族居住地，還是在緬甸撣族的居住區(qū)，都可以得到眾多詳實(shí)的田野依據(jù)。從生活上看，兩者都喜食糯米，，女性著窄袖短衣和筒裙，頭盤(pán)發(fā)髻、戴頭巾，男性著無(wú)領(lǐng)對(duì)襟或大襟小袖衫，下穿長(zhǎng)管褲，戴頭巾；住的都是構(gòu)造與風(fēng)格極為相同的竹樓；兩個(gè)民族都屬傣泰語(yǔ)系，使用傣文，講傣語(yǔ)①。從信仰上看，兩者都信仰南傳上座部佛教，尤其是撣族在緬甸地區(qū)的居住地，和尚、佛塔、佛寺遍布整個(gè)城市。從音樂(lè)上看，“象腳鼓”樂(lè)器文化的傳播與流布更能體現(xiàn)出這兩個(gè)跨界民族同根同源、血脈相連的密切關(guān)系。 中國(guó)傣族與緬甸撣族作為同源的跨界民族，他們具有著相同的文化基因，其中，“象腳鼓”樂(lè)器文化是最具代表性的文化事項(xiàng)之一。因?yàn)�，“象腳鼓”是兩個(gè)民族共有的擊奏膜鳴樂(lè)器，常用于民間節(jié)日活動(dòng)和佛教儀式活動(dòng)當(dāng)中，并在悠久的發(fā)展歷程中，深受兩個(gè)跨界民族的共同喜愛(ài)，是兩個(gè)跨界民族日常生活當(dāng)中不可或缺的重要文化事項(xiàng)。 筆者在對(duì)中緬“象腳鼓”文化研究的相關(guān)文獻(xiàn)梳理時(shí)發(fā)現(xiàn)，有關(guān)中國(guó)傣族和緬甸撣族“象腳鼓”文化的比較研究到目前為止尚屬空白，而在相關(guān)涉獵到“象腳鼓”樂(lè)器的研究文獻(xiàn)中，更多的只是拘囿于各自民族范疇中樂(lè)器本體的描述。筆者在進(jìn)行了大量的田野工作考察后認(rèn)為：一、“象腳鼓”一詞是局外人對(duì)傣族和撣族共有擊奏膜鳴樂(lè)器名稱(chēng)的誤讀；二、兩個(gè)跨界民族共有樂(lè)器“象腳鼓”的分類(lèi)標(biāo)準(zhǔn)應(yīng)從學(xué)術(shù)上予以共識(shí)性明確；三、對(duì)“象腳鼓”樂(lè)器的研究必須以樂(lè)器學(xué)的視角和民族音樂(lè)學(xué)的方法加以觀照；四、對(duì)兩個(gè)跨界民族的“象腳鼓”樂(lè)器文化應(yīng)該從理論層面和實(shí)踐的高度予以比較研究和實(shí)際應(yīng)用。 本文從樂(lè)器學(xué)視角，運(yùn)用民族音樂(lè)學(xué)的方法，在梳理前人研究成果的基礎(chǔ)上，結(jié)合大量中緬田野工作考察資料，試圖從學(xué)術(shù)層面去系統(tǒng)解讀中緬兩個(gè)跨界民族“象腳鼓”樂(lè)器文化基因的異同，并認(rèn)為兩個(gè)跨界民族共有的“象腳鼓”樂(lè)器文化不僅具有共通的穩(wěn)定性特征，更具有不同的變異性特征。共通的穩(wěn)定性特征說(shuō)明了兩個(gè)跨界民族具有血脈相連的文化基因，不同的變異性特征說(shuō)明，相同的文化在不同的時(shí)空中會(huì)發(fā)生與其文化背景相適宜的文化變遷。
[Abstract]:Dai nationality in China and Shan nationality in Myanmar are two cross-border ethnic groups of the same origin. Both ethnic groups were developed from Dian Yue, a branch of the hundred Yue in the Han Dynasty, and were developed in the beginning of AD or in 1th century. Moved from Pearl River west to the central Yunnan Province of China. In 8th century AD part of the gradual migration to Myanmar region reproduction. As a homologous cross-border ethnic group Dai and Shan in production and life. Belief and culture are closely related to each other. From the production point of view, both belong to the farming ethnic group, whether from the Dai residence in China, or in the residential area of the Shan ethnic group in Myanmar. From the point of view of life, both are fond of eating glutinous rice, women wear narrow sleeve short clothes and tube skirts, head bun, wearing headscarves, men wearing collarless cardigan or cardigan, under wear long pipe pants. Wearing a headscarf; They lived in bamboo buildings of the same structure and style; The two ethnic groups belong to the Dai and Thai languages, using the Dai language and speaking the Dai language. 1. From the perspective of faith, both of them believe in the Buddhism spread to the south, especially the residence of the Shan nationality in Myanmar, monks and pagodas. Buddhist temples spread all over the city. From a musical point of view, the spread and spread of the "elephant foot drum" musical instrument culture can reflect the close relationship between these two cross-border ethnic groups with the same roots and blood ties. Dai nationality in China and Shan nationality in Myanmar have the same cultural genes, among which the "elephant foot drum" musical instrument culture is one of the most representative cultural issues. "Elephant foot Drum" is a musical instrument common to the two ethnic groups, often used in folk festivals and Buddhist rituals, and in the long history of development, deeply loved by the two cross-border ethnic groups. It is an indispensable cultural issue in the daily life of two cross-border nationalities. The author finds that the comparative study on the "elephant foot drum" culture of Dai and Shan nationality in China and Myanmar is still blank so far when combing the literature about the culture of "elephant foot drum" between China and Myanmar. But in the related literature of "elephant foot drum" instruments, more than the description of the musical instruments confined in their respective ethnic category. The author has carried out a large number of field work to investigate the following: 1. The term "elephant foot drum" is a misinterpretation of the name of the Dai and Shan nationality musical instruments. Second, the classification criteria of "elephant foot drum", which are shared by two cross-border ethnic groups, should be clearly defined from the academic point of view; Third, the study of "elephant foot drum" musical instruments must be viewed from the perspective of musical instruments and ethnomusicology. Fourthly, the "elephant foot drum" musical instrument culture of the two cross-border nationalities should be compared and applied in theory and practice. In this paper, from the perspective of Musical instrument, using the ethnomusicology method, on the basis of combing the previous research results, combined with a large number of Sino-Myanmar fieldwork investigation data. This paper attempts to systematically interpret the similarities and differences of the genes of the "elephant foot drum" musical instrument between the two cross-border ethnic groups in China and Myanmar from the academic level, and thinks that the "elephant foot drum" musical instrument culture shared by the two cross-border nationalities not only has the common characteristics of stability. The common characteristics of stability show that the two cross-border ethnic groups have consanguineous cultural genes and different characteristics of variability. The same culture in different time and space will take place the appropriate cultural changes with its cultural background.
【學(xué)位授予單位】：中國(guó)音樂(lè)學(xué)院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類(lèi)號(hào)】：J63;J633.37

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