本文選題：恩施揚琴　切入點：非舞臺化　出處：《中央民族大學》2017年碩士論文

【摘要】：土家族恩施揚琴作為鄂西北曲藝音樂中的重要一支,其唱腔豐富,音樂優(yōu)美,歷史悠久,并以高雅音樂著稱。歷史上主要為文人雅士自娛自樂的一種曲藝形式,最常見的形式為三五個好友,在古廟或者雅集中演唱,演唱者居中間,面前放置揚琴,其他樂器分列兩邊,有二胡、京胡、三弦、琵琶、月琴、碗琴、鼓板等,其中,揚琴在整個樂隊中起指揮的作用,也是主奏樂器,因此,大家習慣稱操揚琴者為"坐統(tǒng)子"。由于恩施揚琴一向是以高雅著稱,因此,歷史上并沒有形成職業(yè)班社,也沒有以此為謀生手段的職業(yè)藝人,恩施揚琴的演唱更有"三不"的說法,即不鬧堂子、不坐茶館、不公開演唱,藝人們還有"曲唱五更雞,非友(知音)不玩琴"一說。正是因為這些獨特的特點,恩施揚琴在恩施土家族苗族自治州的各個縣得到了廣泛的流傳。傳統(tǒng)的恩施揚琴有著"不搭臺、不表演、不化妝"的特點,在知識分子和上層社會中流傳。然而,隨著社會的發(fā)展和現(xiàn)代化進程的加速,恩施揚琴的生存環(huán)境發(fā)生了巨大的改變,傳統(tǒng)恩施揚琴的各個方面也都發(fā)生著變遷,舞臺化后的恩施揚琴根據(jù)舞臺藝術的特點對傳統(tǒng)的恩施揚琴進行了改編、創(chuàng)新,在各大比賽、展演舞臺上展露風采,并取得了不錯的成績。這一方面說明了恩施揚琴舞臺化轉(zhuǎn)型的成功,它促進了恩施揚琴的傳播與發(fā)展,但另一方面,我們還要考慮到舞臺化的恩施揚琴是不是真正實現(xiàn)了對恩施揚琴的傳承和發(fā)展?這種舞臺表演在多大程度上傳承了恩施揚琴的精髓?恩施揚琴有沒有失去本真性的東西?是否做到了舞臺真實?因此,本文以恩施揚琴作為主要研究對象,通過對現(xiàn)存的兩種發(fā)展模式——傳統(tǒng)非舞臺化與現(xiàn)代舞臺化表演進行分析,借鑒民族音樂學、人類學、社會學等學科的研究方法,探究恩施揚琴的這兩種表演形式在聲樂唱腔曲牌、唱詞、伴奏樂器、調(diào)式調(diào)性、表演形態(tài)、表演人員構成等各個方面的異同,揭示發(fā)生這種舞臺化變遷的原因,并借此審視恩施揚琴在當下的社會文化背景下應該如何進行更好的傳承發(fā)展,進而思考傳統(tǒng)文化與現(xiàn)代碰撞后應該如何實現(xiàn)重構。整個論文主要包括以下幾個部分:第一章是緒論,是對整個研究情況的說明和梳理,主要包括研究緣起、研究意義、研究相關動態(tài)、理論背景及主要研究方法等。第二章理論及概念層面,主要對土家族恩施揚琴的生存環(huán)境、發(fā)展歷程以及兩種現(xiàn)存的生存模式進行概述。第三章為個體分析層面,分別對土家族恩施揚琴的傳統(tǒng)非舞臺化形式和現(xiàn)代舞臺化形式表演從幾個方面進行對比和解析。第四章為個體分析層面,結合對比結果及其社會背景,對土家族恩施揚琴由傳統(tǒng)民間走向現(xiàn)代舞臺的原因進行探究,并對恩施揚琴如何在現(xiàn)代化社會中重構提出自己的建議。第五部分為結論,綜合以上分析,對土家族恩施揚琴的非舞臺化與舞臺化關系進行思考。最后為參考文獻、附錄和致謝,主要是我從整個論文構思到寫作完成所參考的主要文獻資料,采風過程中的圖片、譜例及訪談材料整理,以及對對我論文完成提供過幫助的老師、朋友、家人及當?shù)叵嚓P人員提出感謝。
[Abstract]:Enshi Tujia folk music in the northwest of Hubei dulcimer as an important branch of the rich, singing, music and beautiful, has a long history and is famous for its elegant music. History is mainly a folk art form of literati ziyuzile, the most common form of 35 friends, in the ancient temple or the elegant assembly of singing, singing in the middle, in front of the other instruments placed on both sides of the breakdown, dulcimer, erhu, pipa, Sanxian, Jinghu, Yueqin, harmonica, drum, the dulcimer command role in the band, is also the main musical instrument, so we used to call them as "sit the fuck dulcimer." as the Enshi dulcimer has always been known for elegant, therefore, history has not formed the occupation class agency, nor as a means of occupation artist, Enshi dulcimer concert more "three", that is not downtown church, not a teahouse, do not sing in public, artists and song " Even chicken, non friends (Concert) do not play the piano "said. It is because of these unique features, Enshi dulcimer has been widely spread in each county, Enshi Tujia and Miao Autonomous Prefecture of Enshi. The traditional dulcimer has not set up the stage, no show, no makeup" features in the intellectual and the upper the spread of society. However, with the acceleration of social development and modernization process, great changes have taken place in Enshi dulcimer environment, every aspect of traditional Enshi dulcimer are also changing, the stage of Enshi after the dulcimer according to the characters of stage art of traditional Enshi dulcimer were adapted in the innovation. A big game show show style, and have achieved good results. This shows that Enshi dulcimer transformation success stage, it promoted the spread and development of Enshi dulcimer, but on the other hand, we have to consider the stage The Enshi dulcimer is not really realized the inheritance and development of the Enshi dulcimer? This stage inherits the essence of Enshi dulcimer whatextent? Enshi dulcimer have lost the true things? Whether to do so, based on the real stage? Enshi dulcimer as as the main research object, based on the two kinds of development the existing mode of non - traditional stage and modern stage performance analysis, from national musicology, anthropology, sociology and other research methods, the two kinds of performances to explore Enshi dulcimer in vocal music singing song lyrics, musical accompaniment, brand, tonality, performance form, performance and other aspects of the similarities and differences the reason for this stage, reveal the changes, and to look at the contemporary social and cultural background of Enshi dulcimer Heritage under the development should be how to better, and thinking of traditional culture After the collision with the modern should be how to reconstruct. The thesis mainly includes the following parts: the first chapter is the introduction, the research situation is illustrated and combing, mainly includes the research origin, research significance, related research, theoretical background and main research methods. The second chapter theory and concept level, mainly of the Tujia nationality Enshi dulcimer living environment, the development process and the existing two kinds of survival mode are summarized. The third chapter is the analysis of the individual level, the traditional non formal stage respectively and the modern stage of Tujia Nationality in Enshi in the form of dulcimer performing a comparative and analysis from several aspects. The fourth chapter is the analysis of the individual level, compared with the results of society the background, to explore the causes of Tujia Nationality in Enshi from the traditional to the modern folk dulcimer stage, and the Enshi dulcimer in modern society how to make their own reconstruction Suggestions. The fifth part is the conclusion, based on the above analysis, on stage and the stage of non relationship of Tujia Nationality in Enshi. Finally, dulcimer reference appendix, and thank you, is I from the literature writing conception to complete reference, in the process of collecting pictures, music and interview arrangement material and finish helped the teacher, for me the friends, family members and the local stakeholders thanks.

【學位授予單位】：中央民族大學
【學位級別】：碩士
【學位授予年份】：2017
【分類號】：J632.51

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本文編號：1679035