發(fā)布時(shí)間：2018-04-23 22:16

  本文選題：走親 + 情境　； 參考：《山西師范大學(xué)》2017年碩士論文

【摘要】：在山西省洪洞縣的羊獬村村民和萬安、歷山村村民眼中,每年的三月三是一個(gè)大日子,每到這一天,人們都要舉行儀式去歷山接“姑姑”回羊獬的娘家。在儀式進(jìn)行中,包括兩部分:純儀式進(jìn)行包括請(qǐng)神、祈神、送神,純音樂進(jìn)行包括威風(fēng)鑼鼓的表演部分。本文將會(huì)從音聲的角度出發(fā),將音聲與儀式結(jié)合,以此來探求儀式用樂功能性是什么?儀式與音樂何以結(jié)合?最后從民族音樂學(xué)的學(xué)科角度探尋結(jié)合的原因和價(jià)值。第一個(gè)重點(diǎn)是,主要介紹了三月三走親儀式的情境及過程,認(rèn)為走親儀式是洪洞縣民間信仰的表現(xiàn)形式,是以儀式為載體、以神話傳說為背景、以鑼鼓樂表演為媒介、以宗親為血緣聯(lián)系紐帶。第二個(gè)重點(diǎn)是,從音樂本體出發(fā),講音聲主要限定在走親儀式的文化背景中,因?yàn)檫@種特殊的音聲往往只能在一定的時(shí)間、空間中進(jìn)行,局外人所聽到的鑼鼓等聲,都是司空見慣的,然在三月三走親儀式的特定場(chǎng)合下,鑼鼓等音聲被賦予了神性色彩,鑼鼓等音聲不再是簡(jiǎn)單的音聲,一方面?zhèn)鬟f了局內(nèi)人的信仰,另一方面也解釋了這種儀式音聲和相關(guān)的儀式之所以能延續(xù)下來的原因。第三個(gè)重點(diǎn)是,接姑姑的走親儀式的音樂研究,是筆者運(yùn)用民族音樂學(xué)的三分模式、跨學(xué)科研究?jī)x式音聲的所進(jìn)行的個(gè)案研究,由于儀式音樂的豐富性以及研究需要跨學(xué)科性,除了研究?jī)x式的現(xiàn)實(shí)存在,也要研究?jī)x式存在的歷史原因,做到歷史與現(xiàn)實(shí)的接通,以此來解釋走親儀式音樂的文化復(fù)雜過程,并由此確立了以人、事、物的儀式行為為中心。
[Abstract]:In the eyes of the villagers of Yangyue Village and Wan'an and Lishan Village in Hongdong County, Shanxi Province, March 3 every year is a big day. Every day, people will hold a ceremony to receive "Aunt" back to her mother's home. In the course of the ceremony, there are two parts: pure ritual includes inviting God, praying for God, sending God to God, and performing pure music including grand gongs and drums. This article will proceed from the sound sound angle, will combine the sound sound with the ceremony, thus will seek the ritual music function to be what? How can ceremony and music be combined? Finally, from the point of view of ethnomusicology, explore the reason and value of the combination. The first key point is that it mainly introduces the situation and process of the March 3 walking ceremony. It considers the ceremony to be the expression form of the folk belief in Hongdong County. The ceremony is the carrier of the ceremony, the background of the myth and legend, and the performance of the gongs and drums as the medium. Take the kinship as the blood link. The second point is that, starting from the music itself, the sound of the speech is mainly confined to the cultural background of the ceremony of walking, because this kind of special sound is often carried out only in a certain time and space, and the sounds of gongs and drums heard by outsiders, etc. They are commonplace, but on the specific occasion of the March 3 ceremony, the sounds of gongs and drums were given a divinity color, and the sounds of gongs and drums were no longer simple sounds. On the one hand, they conveyed the beliefs of insiders. On the other hand, it also explains why this kind of ritual sound and related rituals can continue. The third key point is that the music research on the walking ceremony of aunt is a case study of the cross-disciplinary study of ritual sound by using the three-point model of ethomusicology. Because of the richness of ritual music and the need for interdisciplinary research, In addition to studying the reality of ritual, we should also study the historical reasons of ritual existence, so as to make the connection between history and reality, so as to explain the complex cultural process of ritual music, and thus establish the ritual behavior of people, things and objects as the center.
【學(xué)位授予單位】：山西師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：J607

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本文編號(hào)：1793879