本文關(guān)鍵詞： 土家族 祭祀儀式 擺手活動 彭氏宣慰司 土司　出處：《湖南師范大學(xué)》2015年碩士論文　論文類型：學(xué)位論文

【摘要】：“擺手”這一活動,不僅包含了土家族傳統(tǒng)的擺手歌舞藝術(shù),而且保存了土家族古老的宗教、戲劇、軍事、體育和各民族文化交流的各種藝術(shù)精華�？梢哉f,擺手活動,是土家族傳統(tǒng)文化的大匯集、大展示。本文所研究的“擺手”音樂,主要指明清土司時期的土家族大型祭祖活動中的音樂元素。通過文獻(xiàn)解讀與田野調(diào)查,可以了解處于成熟期的傳統(tǒng)“擺手”的音樂概貌與單獨的各個音樂形態(tài),并與現(xiàn)存活態(tài)“擺手”及其音樂進(jìn)行對比,運用“歷史的民族音樂學(xué)”的學(xué)科分析方法,體驗土家擺手活動的“變與不變”。本文的主要內(nèi)容及新認(rèn)識如下:本文分緒論和正文四章。緒論針對“湘西彭氏宣慰司”與“擺手”兩個概念進(jìn)行了非常詳盡地闡述;且羅列出了盡筆者之能所查找出的有關(guān)“擺手”的原始史料,及對現(xiàn)有研究狀況的論述;并針對“歷史的民族音樂學(xué)”這一學(xué)術(shù)理念進(jìn)行吸收。第一章交代了“擺手”存在的歷史人文環(huán)境,包括歷史源流、宗教信仰等。其中“土王信仰”是其土司時期階級統(tǒng)治下的產(chǎn)物,尤以明清土司時期為最盛,交代了明清“擺手”之歷史背景。第二章則是立足于筆者所搜集到的所有歷史文獻(xiàn)資料,“回到歷史現(xiàn)場”,還原“擺手”歷史原貌,細(xì)數(shù)傳統(tǒng)“擺手”的各個音樂形態(tài)。傳統(tǒng)儀式程序大致可為三大部分:梯瑪祀神、擺手祀神、坪場歌媒。梯瑪祀神包括梯瑪祭神時的歌與舞,以及梯瑪所用到的樂器法器;擺手祀神包括群眾一起唱擺手、跳擺手及擺手歌舞過程中的伴奏樂器;坪場歌媒主要于《竹枝詞》中有所描繪,為土家青年男女以歌為媒的古老談情方式,因歌結(jié)媒的男女,當(dāng)夜就可在土家族巫師梯瑪?shù)囊娮C下定下婚約,再行約期進(jìn)行嫁娶活動。第三章在前文已對“擺手”形態(tài)、內(nèi)容等進(jìn)行全方位闡釋后,筆者試圖通過當(dāng)代展示之現(xiàn)況與還原歷史原貌進(jìn)行比較,分析其為什么會出現(xiàn)演變、存在哪些異同、儀式演變規(guī)律何如等,繼而找尋“擺手”音樂文化“變與不變”之本質(zhì)。為了能全方位地形成對“擺手”活動及其音樂的整體性認(rèn)知,筆者以明清時期地方文獻(xiàn)為基礎(chǔ),包括歷代《永順府志》、《永順縣志》、《龍山縣志》、《保靖縣志》和《古丈坪廳志》等地方志,輔以田野采風(fēng)調(diào)查:筆者曾前往永順縣雙鳳村、永順老司城、保靖縣首八峒村及湘西州州立博物館等地進(jìn)行采風(fēng)調(diào)查,力圖著眼于歷史,落腳于活態(tài)傳承,凸顯出歷史語境中的“擺手”。
[Abstract]:The activity of "waving hands" not only includes the traditional art of singing and dancing of the Tujia nationality, but also preserves the ancient religious, dramatic, military, sports and cultural exchanges of various nationalities of the Tujia nationality. It is a great collection and display of Tujia traditional culture. The "pendulum" music studied in this paper mainly refers to the music elements in the large-scale ancestral worship activities of the Tujia nationality in the Ming and Qing dynasties. It is possible to understand the music profile of the traditional "hand pendulum" in the mature period and its individual musical forms, and to compare it with the existing "hand waving" and its music, and use the subject analysis method of "Historical Ethomusicology". The main content and new understanding of this paper are as follows: this paper is divided into introduction and four chapters. The introduction elaborates in detail the two concepts of "Pengshi Xuan Shu Shi" and "waving hand" in Western Hunan; It also lists the original historical data about "waving hands" which the author can find, and discusses the current research situation. The first chapter explains the historical humanistic environment, including the origin of history. Religious belief and so on. Among them, "Tu Wang's belief" was the product of the class rule in the period of the Tusi period, especially in the Ming and Qing dynasties, when the Tusi period was the most prosperous. The second chapter is based on all the historical documents collected by the author, "go back to the historical scene" and restore the historical appearance of "wielding hands". The traditional ritual procedure can be divided into three parts: Timar worship god, hand worship god, pingchang song medium. Tamar worship god includes the song and dance of Timar worship god, and the instruments and instruments used by Timar; The worship of the gods includes singing and waving hands, dancing hands and accompaniment instruments in the process of singing and dancing. Pingchang's song medium is mainly described in "Bamboo Branch ci", which is an ancient way of talking about love by songs for young men and women of Tujia nationality, because of the men and women of singing and matchmaking. On the same night, Tema, the Tujia wizard, can make a marriage contract and carry out a marriage activity during the period of the reappointment. Chapter three, after having explained the form and content of "waving hands" in all directions, The author tries to compare the present situation of contemporary display with the original appearance of restoration history, and analyze why it has evolved, what similarities and differences exist, and He Ru, the law of ritual evolution, etc. Then to find the essence of "change and invariance" in the music culture of "waving hands". In order to form a holistic cognition of the activities and music of "waving hands" in all directions, the author bases on the local literature of the Ming and Qing dynasties. Including local chronicles such as Yongshun Prefecture Records, Yongshun County Records, Longshan County Records, Baojing County Records and Guzhang Ping Hall Records, etc., supplemented by fieldwork survey: the author went to Shuangfeng Village, Yongshun County, Yongshun Laoshi City, In Baojing County, the first Batong Village and Xiangxi State Museum are investigated in order to focus on history, settle down in the state of life, and highlight the "waving hands" in the historical context.
【學(xué)位授予單位】：湖南師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2015
【分類號】：J608

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