本文選題：錫伯族　切入點(diǎn)：西遷　出處：《中央音樂(lè)學(xué)院》2010年博士論文　論文類(lèi)型：學(xué)位論文

【摘要】： 本論文是對(duì)新疆伊犁察布查爾縣的錫伯族群民間戲曲藝術(shù)汗都春所進(jìn)行的專(zhuān)題研究。論文的寫(xiě)作是在充分了解和掌握已有研究成果和資料的基礎(chǔ)上,通過(guò)本人較為深入的田野工作,對(duì)汗都春藝術(shù)及相關(guān)文化背景進(jìn)行了全面的考察和采錄基礎(chǔ)上完成的。論文從歷史學(xué)、音樂(lè)學(xué)、戲劇戲曲學(xué)、文化人類(lèi)學(xué)、語(yǔ)言學(xué)、民俗學(xué)等角度,力求對(duì)汗都春作出歷史的梳理、藝術(shù)的分析和文化的解釋。 論文的基本框架和內(nèi)容是：錫伯民族的歷史、文化及民俗概說(shuō)；汗都春的歷史與現(xiàn)狀梳理；平調(diào)與越調(diào)藝術(shù)特征研究；汗都春與新疆小曲子的對(duì)比分析；對(duì)汗都春現(xiàn)象的文化解釋?zhuān)挥嘘P(guān)錫伯族群傳統(tǒng)文化的傳承性保護(hù)建議。 論文所呈現(xiàn)的創(chuàng)造性成果和新的學(xué)術(shù)見(jiàn)解主要包括：對(duì)汗都春的來(lái)源及各種稱(chēng)謂作了較為清晰的描述,首次找出汗都春(handucun)一詞的源頭并對(duì)其涵義作出注解：通過(guò)實(shí)證,明確了汗都春之平調(diào)聲腔源于我國(guó)西北地區(qū)移居新疆的漢、回藝人傳入的曲藝和戲曲藝術(shù),糾正了同時(shí)存在的平調(diào)“源于東北”之觀點(diǎn)；較為詳盡地描述了錫伯族群各個(gè)社區(qū)汗都春(平調(diào)和越調(diào))傳承的歷史與現(xiàn)狀,采錄到了現(xiàn)有的曲牌和部分劇目,收集到了不少珍貴的歷史音響和60余部劇本；首次將汗都春與同源劇種新疆小曲子作了全面比較,強(qiáng)調(diào)了汗都春作為新疆曲子劇的一個(gè)具有獨(dú)立意義的分支的基本標(biāo)志和特殊的歷史與文化意義；筆者根據(jù)所獲歷史音響及本人所采訪的錄音,為汗都春90個(gè)曲牌中的84個(gè)作了重新記譜,自認(rèn)為是比較客觀和準(zhǔn)確的；在論文的重點(diǎn)研究部分即第五章“汗都春現(xiàn)象的文化解釋”中,通過(guò)對(duì)錫伯族歷史上在與蒙古族、滿族、俄羅斯民族、漢族等強(qiáng)勢(shì)民族以及維吾爾族、哈薩克族等周邊民族的文化碰撞中所持有的多重文化認(rèn)同,以及西遷新疆后所體現(xiàn)出的強(qiáng)烈的族群意識(shí)和文化自覺(jué)的觀察和剖析,指出了汗都春現(xiàn)象背后的文化機(jī)理所在,即錫伯族群所具有的“兼容并蓄、不失本我”的文化品格。用錫伯族群這一族性特征來(lái)解釋汗都春現(xiàn)象的產(chǎn)生,應(yīng)該是本文所努力作出的學(xué)術(shù)探索并可望從中提出新的見(jiàn)解。
[Abstract]:This thesis is a special research on the folk opera art of Xibo nationality in Chabuchar County, Xinjiang. The writing of the thesis is based on the full understanding and mastery of the existing research results and materials. Based on the comprehensive investigation and recording of the art and related cultural background of Khan du Chun, the thesis is based on history, musicology, drama and drama, cultural anthropology, linguistics, etc. Folklore and other angles, trying to make a historical combing of Khan Duchun, artistic analysis and cultural interpretation. The basic frame and content of this paper are as follows: the history, culture and folklore of Sibo nationality, the history and present situation of Handu Spring, the study of artistic characteristics of flat and Yue tune, the comparative analysis of Handu Spring and Xinjiang small tune; Cultural explanation of Handuchun phenomenon; suggestions on heritage protection of Xibo traditional culture. The creative achievements and new academic insights presented in the paper mainly include: a clear description of the origin and various appellations of Khan du Chun, the first time to find the source of the word "Khan du Chun ducun" and to annotate its meaning: through empirical analysis, It is clear that the flat tone of Han du Spring originated from the Han Dynasty which moved to Xinjiang in Northwest China, the folk art and opera art introduced by the artists, and corrected the view that the flat tone "originated from the Northeast" existed at the same time. This paper describes in detail the history and present situation of the inheritance of Han du Chun (Pingyao and Yue Diao) in various communities of Xibo nationality, records the existing music and some plays, and collects a lot of precious historical acoustics and more than 60 plays; For the first time, the author makes a comprehensive comparison between the Han du Spring and the Xinjiang small tunes of the homologous drama, and emphasizes the basic symbol and special historical and cultural significance of the Handu Spring as an independent branch of the Xinjiang tunes. According to the historical audio recording and the recording I interviewed, the author rewrote 84 of the 90 musical cards of Khan du Chun and considered himself to be more objective and accurate. In the key research part of the thesis, which is 5th chapter "the cultural explanation of the phenomenon of Khan du Chun", through the history of Xibo and Mongolian, Manchu, Russian, Han and other powerful ethnic groups, as well as Uygur, and Uygur, The multi-cultural identity held by the Kazakh and other surrounding ethnic groups in the cultural collision, as well as the strong ethnic consciousness and cultural consciousness reflected by the westward migration to Xinjiang, point out the cultural mechanism behind the phenomenon of Khan du Chun. That is, the Xiebo ethnic group has the cultural character of "all-embracing, without losing its own ego". To explain the emergence of the phenomenon of Khan du Chun by using the characteristic of Xibo ethnic group should be the academic exploration that this paper tries to make and hope to put forward new ideas from it.
【學(xué)位授予單位】：中央音樂(lè)學(xué)院
【學(xué)位級(jí)別】：博士
【學(xué)位授予年份】：2010
【分類(lèi)號(hào)】：J825

【引證文獻(xiàn)】

中國(guó)碩士學(xué)位論文全文數(shù)據(jù)庫(kù) 前1條

1 楊雪;新疆錫伯族貝倫舞音樂(lè)文化調(diào)查研究[D];新疆師范大學(xué);2012年

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本文編號(hào)：1588643