發(fā)布時間：2018-03-23 16:31

  本文選題：越南順化琴歌　切入點：順化歌　出處：《上海音樂學(xué)院》2017年博士論文

【摘要】：越南是一個國土面積不大的國家,但卻擁有54個民族,形成了很多的音樂形式,順化室內(nèi)音樂(順化琴歌)是其中具有代表性的傳統(tǒng)音樂形式。學(xué)術(shù)界認(rèn)為順化琴歌形成于阮朝時期17世紀(jì)末或18世紀(jì)初,19世紀(jì)是順化琴歌的鼎盛時期。順化琴歌出自宮廷,最初借用了雅樂的一些譜子,后來才擴展到了民間,同時又與順化的一些部分民間音樂相混合。順化琴歌受到產(chǎn)生于相同的文化環(huán)境的回調(diào)(Dieu ho)、理調(diào)(dieu ly)、朝文(Chiu van)等音樂的影響,形成別具一格的特點。越南音樂學(xué)界、民間藝人對該藝術(shù)形式有各種稱謂,最為普遍的是稱為"順化歌",該稱謂往往會讓人誤解為"順化琴歌"是以歌唱為主的音樂體裁,其中的"琴"沒有其他音樂形式如"歌妓"(ADao)那么重要。但實際上,它不但歌唱時必須有器樂伴奏,而且還有器樂合奏、獨奏等多種形式。因此,筆者使用"順化琴歌"這一稱謂作為這種音樂形式的名稱。論文闡述了順化琴歌對其他地方音樂的影響、歌曲數(shù)量以及該音樂傳統(tǒng)的來源和意義,并重點分析了對對順化琴歌中每種樂器演奏風(fēng)格、唱法的特點及技巧。另一方面,筆者對民間傳承人的具體生存樣態(tài)、所傳承的音樂品種的情況等,做了具體、深入細(xì)致的調(diào)查研究,提出如下論點:1.對"順化琴歌"在學(xué)術(shù)界和民間的不同稱謂進(jìn)行了梳理,并提出使用"順化琴歌"這一稱謂更為符合該傳統(tǒng)音樂之特性。2.學(xué)界認(rèn)為順化琴歌形成于阮朝頂峰時期17世紀(jì)末到18世紀(jì)初,是一種典雅的娛樂形式。筆者的研究找到一些證據(jù)補充這一觀點。3.關(guān)于順化琴歌中的"調(diào)"有研究者認(rèn)為順化琴歌分為南調(diào)和北調(diào)兩大類,同時還有一種調(diào)叫做"建調(diào)",由于此調(diào)地處南北兩調(diào)流傳的區(qū)域中間,故而在風(fēng)格上融合了是南調(diào)和北調(diào)的特征。但根據(jù)筆者跟其他民間藝人的經(jīng)驗和看法,以及個人多年的學(xué)習(xí)經(jīng)驗,認(rèn)為順化琴歌僅包括兩種調(diào):北調(diào)和南調(diào),"建調(diào)"僅是南調(diào)系統(tǒng)中的一種"春腔"。4.就順化琴歌的傳承現(xiàn)狀而言,筆者發(fā)現(xiàn),民間音樂家的后代幾乎很少有人愿意繼承祖輩的音樂事業(yè),因經(jīng)濟(jì)、社會、政策的原因,傳統(tǒng)音樂人才日益減少。目前大部分年輕演員都只是為了得到相應(yīng)的經(jīng)濟(jì)報酬才選擇這個職業(yè),并不是出于對傳統(tǒng)音樂的真正熱愛,因此在專業(yè)和演出方面并沒有很優(yōu)秀,由于音樂人才的缺少,對音樂技術(shù)的要求也一定程度上有所降低,其他相關(guān)問題也因此而產(chǎn)生。因此,筆者在研究順化琴歌后,對順化琴歌的傳承提出一些看法和建議。
[Abstract]:Vietnam is a small country, but it has 54 ethnic groups, forming many forms of music. Hue Hua indoor music (Shunhua piano song) is one of the representative traditional music forms. Academic circles believe that the formation of Shunhua piano songs in the late 17th century or early 18th century or early 18th century is the heyday of Shunhua piano songs. At first, some of the music of elegant music were borrowed, but later it was extended to the people. At the same time, it was mixed with some folk music of Hue Hua. Hue Hua Qin Song was influenced by music such as Dieu hoi, Li Dieu Lyan, Chiu van, etc, which came into being in the same cultural environment, forming a unique characteristic. Folk artists have various appellations for this form of art, the most common being "Hue Hua Song", which is often misunderstood as a musical genre based on singing. The "piano" is not as important as other musical forms such as "geisha". But in fact, it must not only be accompanied by instrumental music, but also instrumental ensemble, solo and other forms. The author uses the title "Hue Hua Qin Song" as the name of this musical form. The paper expounds the influence of the song on other local music, the number of songs, and the origin and significance of the music tradition. On the other hand, the author makes a concrete analysis of the specific living patterns of folk inheritors, the situation of the music varieties inherited, and so on, and analyzes the characteristics and skills of playing each musical instrument in the song of Shunhua, on the other hand, the author makes a specific analysis of the specific living patterns of the folk inheritors and the situation of the music varieties passed on. After a thorough investigation and study, this paper puts forward the following argument: 1. Combing the different titles of "Hue Hua Qin Song" in academia and folk. And put forward the use of the title "Shunhua Qin Song", which is more in line with the characteristics of the traditional music. 2. Academic circles believe that the Hue Hua Qin Song was formed from the end of the 17th century to the beginning of the 18th century in the peak period of the Ruan Dynasty. It is an elegant form of entertainment. My study found some evidence to supplement this view. Some researchers think that Hue Qin songs can be divided into two categories: the south and the north. At the same time, there is also a tone called "Jianyao". Because this tone is located in the middle of the region where the two tunes spread between the North and the South, it is therefore a feature of the South and the North in style. But according to the experience and views of the author and other folk artists, As well as personal experience for many years, it is believed that there are only two kinds of tunes in Shunhua piano song: North and south, "Jian" is only a kind of "spring tune" in the southern tune system. 4. As far as the inheritance status quo of Shunhua piano songs is concerned, the author finds out, Few of the descendants of folk musicians are willing to inherit the music career of their ancestors for economic, social and policy reasons. Traditional music talent is dwindling. At present, most young actors choose this profession only to get a corresponding financial reward, not out of a true love of traditional music, so they are not very good in professional and performing. Due to the lack of musical talents, the requirement of music technology is also reduced to some extent, and other related problems also arise. Therefore, the author puts forward some views and suggestions on the inheritance of the song of Shunhua Qin after studying the song of Shunqin.
【學(xué)位授予單位】：上海音樂學(xué)院
【學(xué)位級別】：博士
【學(xué)位授予年份】：2017
【分類號】：J607
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本文編號：1654266