發(fā)布時(shí)間：2018-04-11 15:48

  本文選題：明清俗曲 + 自然傳播�。� 參考：《南京藝術(shù)學(xué)院》2016年博士論文

【摘要】：云南自古以來就與內(nèi)地有著很強(qiáng)的政治、經(jīng)濟(jì)和文化交流,不斷遷徙到云南的內(nèi)地民眾是內(nèi)地音樂文化在云南的主要傳播者和媒介。明代之前,內(nèi)地民眾遷入云南后,基本上都是“便服從其俗”,逐漸融入到云南本土的民族之中了,音樂文化也是如此。明清大規(guī)模的軍屯、民屯、商屯等移民徹底改變了云南的整體面貌,漢族逐漸成為云南的主體民族,云南的文化也由以少數(shù)民族為主的多元文化走向以漢文化為主體的多元一體的文化格局。明清俗曲是興盛于內(nèi)地明清時(shí)期的一種特有的音樂藝術(shù)形式,它是明清時(shí)期以職業(yè)或半職業(yè)藝人為創(chuàng)作表演主體,文人參與,流行于民間市坊中用樂器伴奏的流行歌曲,以及由這些流行歌曲發(fā)展或參與的曲藝、戲曲和器樂音樂。云南本沒有,是內(nèi)地移民將“俗曲”帶到了云南,移民不僅是明清時(shí)期“俗曲”在云南的傳播主體,也是其傳播的主要媒介和接受群體。當(dāng)云南成為大一統(tǒng)的中國一個(gè)省區(qū)后,國家的禮俗用樂成為“俗曲”在云南傳承與傳播的制度保障,溝通二者的是樂籍制度。明清俗曲隨移民而遷徙,移民到哪兒,“俗曲”就流傳至哪里,由此形成了以漢族移民聚居區(qū)為中心的“俗曲”文化圈并向周圍不斷擴(kuò)散,漢族聚居區(qū)、漢族與少數(shù)民族雜居區(qū)和少數(shù)民族聚居區(qū)的“俗曲”在數(shù)量、樂種和音樂形態(tài)上都呈現(xiàn)逐漸遞減趨勢(shì)。清代雍正時(shí)期的“改土歸流”使得“俗曲”在云南的傳播范圍不斷擴(kuò)展,但樂籍制度的廢除,又使得“俗曲”在云南傳播的過程中出現(xiàn)了“雅”衰“俗”盛的局面,【打棗竿】、【掛枝兒】、【金紐絲】等較為文雅的“俗曲”或退出歷史舞臺(tái)或被“俗化”或被“簡化”,而【孟姜女調(diào)】、【鮮花調(diào)】、【剪靛花】等簡潔明快、通俗易懂的“俗曲”受到人們的追捧,不僅流播的范圍擴(kuò)大,也被其它音樂藝術(shù)形式吸收,由此不僅壯大了自己、傳播了自己、還衍展創(chuàng)新了自己,成為了真正的民間“俗曲”。由于云南自然環(huán)境和地處邊疆對(duì)中原文化的強(qiáng)烈認(rèn)同感等諸多原因,更是由于樂籍制度的保障,隨內(nèi)地移民一起進(jìn)入云南的許多明清俗曲至今還保留著較為古樸的狀態(tài),它們不僅成為漢民族保存自身特征的重要文化娛樂形式,也在不斷的改造、融合和適應(yīng)云南的少數(shù)民族音樂文化,并由此促成了云南多種民間藝術(shù)的形成與發(fā)展,最終成為云南多民族共同喜愛的藝術(shù)形式。它們對(duì)云南各民族在文化認(rèn)同、國家認(rèn)同和多元一體的中國音樂文化建設(shè)中都起到了很大的作用。
[Abstract]:Yunnan has had strong political, economic and cultural exchanges with the mainland since ancient times, and the mainlanders who have been migrating to Yunnan are the main communicators and media of mainland music culture in Yunnan.Before the Ming Dynasty, the mainland people moved to Yunnan, basically "casual clothes from its vulgar", gradually integrated into the local people in Yunnan, music culture is the same.The large-scale immigrants from the Ming and Qing dynasties, such as military, civilian and commercial villages, completely changed the overall appearance of Yunnan, and the Han nationality gradually became the main ethnic group in Yunnan.The culture of Yunnan also changed from the multi-culture dominated by ethnic minorities to the multi-cultural pattern with Han culture as the main body.The folk music of the Ming and Qing dynasties is a unique form of musical art that flourished in the mainland during the Ming and Qing dynasties. It was a popular song performed by professional or semi-professional entertainers in the Ming and Qing dynasties with the participation of literati and popular musical instruments in folk markets.As well as the development or participation of these pop songs in quyi, opera and instrumental music.There was no such thing in Yunnan, and it was the mainland immigrants who brought "vulgar songs" to Yunnan, which was not only the main dissemination subject of "vulgar songs" in the Ming and Qing dynasties, but also the main medium and the receiving group of the "vulgar songs" in the Ming and Qing dynasties.When Yunnan became one of the provinces and regions of China, the national ritual and custom music became the system guarantee of the inheritance and dissemination of "vulgar music" in Yunnan, and the communication between the two was the system of music and nationality.The folk songs of the Ming and Qing dynasties migrated with immigrants. Wherever they emigrated, the "folk songs" spread, thus forming a cultural circle of "vulgar songs" centered on the areas inhabited by Han immigrants and spreading to the surrounding areas, where the Han nationality was concentrated.The "folk songs" of the Han nationality and the minority areas are gradually decreasing in number, music species and music form.During the period of Yongzheng of Qing Dynasty, "changing the land and returning to flow" made the spread of "vulgar music" in Yunnan continuously expand, but the abolition of the music system made the "vulgar music" in Yunnan spread in the process of "elegant" decline "popular" situation.The more elegant "folk songs", such as [beating jujube], [hanging branches], [Jinius], and so on, either withdraw from the historical stage or be "vulgar" or "simplified", while [Meng Jiangnv], [flowers], [cut indigo flowers], etc., are concise and lively.The easy-to-understand "vulgar music" is sought after by people. It not only broadens the scope of broadcasting, but also is absorbed by other forms of musical art. Thus, it not only strengthens itself, spreads itself, but also develops and innovates itself.Has become the real folk "vulgar song".Because of Yunnan's natural environment and its strong sense of identity to the Central Plains culture in the border areas, and because of the protection of the music system, many of the Ming and Qing vulgar songs that entered Yunnan along with the mainland immigrants still retain a relatively primitive state to this day.They have not only become an important form of cultural entertainment for the Han nationality to preserve its own characteristics, but also continuously reformed, integrated and adapted to the music culture of minority nationalities in Yunnan, and thus contributed to the formation and development of a variety of folk arts in Yunnan.Finally, it became a popular art form of Yunnan.They have played a great role in the construction of Chinese music culture, which is cultural identity, national identity and pluralistic integration.
【學(xué)位授予單位】：南京藝術(shù)學(xué)院
【學(xué)位級(jí)別】：博士
【學(xué)位授予年份】：2016
【分類號(hào)】：J609.2
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本文編號(hào)：1736639