本文關(guān)鍵詞： 漢族嗩吶 白族嗩吶 對比 傳承　出處：《大理大學(xué)》2017年碩士論文　論文類型：學(xué)位論文

【摘要】：沁陽漢族嗩吶和洱源白族嗩吶都代表了當(dāng)?shù)貑顓人囆g(shù)的發(fā)展水平,具有標(biāo)桿性意義。兩者同是嗩吶藝術(shù)之鄉(xiāng),在嗩吶藝術(shù)發(fā)展方面既有共性又有個性,且具有代表性。本文以河南沁陽漢族嗩吶和大理洱源白族嗩吶為研究對象,以藝術(shù)人類學(xué)為理論支撐,對河南沁陽漢族地區(qū)和大理洱源白族地區(qū)的嗩吶藝術(shù)開展田野調(diào)查和音樂分析,來進(jìn)行包括音樂的形態(tài)結(jié)構(gòu),音樂的發(fā)生主體及其社會組織等多方因素的對比探究,對同是嗩吶藝術(shù)之鄉(xiāng)的河南沁陽和大理洱源而產(chǎn)生的不同的嗩吶音樂及其行為做出解釋。第一章:對中國嗩吶藝術(shù)的發(fā)展脈絡(luò)進(jìn)行梳理,并闡明兩地嗩吶藝術(shù)的發(fā)展現(xiàn)狀。第二章:從音樂本體入手,對比分析沁陽漢族和洱源白族嗩吶藝術(shù),闡明這些差異對兩地嗩吶藝術(shù)發(fā)展的利弊,并說明嗩吶藝術(shù)自進(jìn)入中國,由中原傳至大理后,洱源白族嗩吶與沁陽漢族嗩吶之間并不是單方面的消極適應(yīng),而是以一種“對話”的形式加深聯(lián)系,并衍生出了新的“文化符號”。第三章:深層次對比探究兩地嗩吶藝術(shù)與當(dāng)?shù)厣鐣幕年P(guān)系,從文化空間、禮俗活動、宗教信仰和審美取向四個方面進(jìn)行解釋。第四章:通過前文層層的對比探究,在說明沁陽漢族和洱源白族嗩吶的傳承價值,分析其傳承存在的問題之后,筆者認(rèn)為兩地嗩吶藝術(shù)的傳承離不開“文化自覺”,“文化持有者”要在傳承中獲得“文化認(rèn)同”,建立“文化自信”,最終實(shí)現(xiàn)高度的“文化自覺”。同時為兩地嗩吶藝術(shù)的傳承與發(fā)展提出具體建議。嗩吶藝術(shù)在當(dāng)今文化多元化、經(jīng)濟(jì)全球化、審美時尚化的趨勢下,作為非物質(zhì)文化遺產(chǎn)的嗩吶藝術(shù)的傳播嚴(yán)重受限,做好嗩吶藝術(shù)的傳承與保護(hù)就顯得格外重要。如何在這種趨勢下,使得嗩吶藝術(shù)在原有的自然與文化空間仍能激流勇進(jìn),熠熠生輝,亟需進(jìn)行探討。
[Abstract]:The suona of the Han nationality of Qinyang and the suona of the Bai nationality of Eryuan both represent the development level of the local suona art and have the significance of benchmarking. Both are the hometown of the suona art, and they have both commonness and individuality in the development of suona art. This paper takes the suona of Han nationality in Qinyang, Henan Province and the Bai suona of Eryuan in Dali as the research object, and takes the artistic anthropology as the theoretical support. The field investigation and music analysis of suona art in the Han nationality area of Qinyang and the Bai nationality area in Dali Eryuan, Henan Province, were carried out to make a comparative study of various factors, including the shape and structure of music, the main body of music and its social organization, etc. This paper explains the different suona music and its behavior produced in Qinyang and Eryuan of Dali in Henan Province, which is also the hometown of suona art. Chapter one: combing the development of suona art in China. The second chapter: from the music Noumenon, comparative analysis of the Han and Eryuan Bai suona art, to clarify the advantages and disadvantages of these differences to the development of suona art in the two places, and to explain the suona art from the entry into China, After transmission from the Central Plains to Dali, the relationship between the Bai suona and the Han suona in Eryuan and Qinyang was not a unilateral negative adaptation, but rather deepened in the form of a "dialogue". And derived a new "cultural symbol". Chapter three: deep level comparative study of the relationship between suona art and local social culture, from the cultural space, ritual activities, Chapter 4th: after explaining the inheritance value of the Han and Eryuan Bai suona in Qinyang and Eryuan, through the comparison and exploration of the previous layers, the author analyzes the problems existing in the inheritance. The author thinks that the inheritance of suona art between the two places can not be separated from "cultural consciousness", "cultural holder" should acquire "cultural identity" in inheritance, establish "cultural self-confidence", and finally realize "cultural consciousness" in the end. At the same time, it is the suona art of both places. Specific suggestions on the inheritance and development of suona art are put forward. Suona art is diversified in today's culture. Under the trend of economic globalization and aesthetic fashion, the transmission of suona art, as an intangible cultural heritage, is seriously restricted, so it is particularly important to do a good job in the inheritance and protection of suona art. Suona art in the original natural and cultural space can still rush forward, shine, need to be discussed.
【學(xué)位授予單位】：大理大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2017
【分類號】：J632.14

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