本文選題：仙馬村 + 苗族�。� 參考：《貴州民族大學(xué)》2017年碩士論文

【摘要】：仙馬村位于貴州省安順市普定縣的東北部猴場苗族仡佬族鄉(xiāng),有大花苗和歪梳苗兩個苗族支系以及少量漢族,是一個貧困的少數(shù)民族村落,但經(jīng)濟(jì)條件落后并沒有影響到仙馬村精神文明的發(fā)展。由于社會歷史因素的影響,仙馬村的苗族同胞有著相同的信仰---信奉基督教,也保留著一些各自民族的傳統(tǒng)文化。在基督教傳入130多年之后的今天,仙馬村依然存在著苗文化,漢文化及以基督教文化為代表的西方文化三種文化共存的混合文化現(xiàn)象。這是社會發(fā)展的時代背景下苗族同胞自主選擇的結(jié)果,這種原生文化與后來的異質(zhì)文化共存的社會文化自一百多年前開始就深深地影響著仙馬村的音樂文化直到今天。仙馬村的苗族傳統(tǒng)音樂取自于苗族同胞長久以來的生活和勞動,他們通過音樂表達(dá)情感和傳遞信息。二十世紀(jì)初基督教傳入該地區(qū)后,基督教音樂文化就不斷地與苗族傳統(tǒng)音樂文化相互碰撞和交融,逐漸完成了基督教音樂在仙馬苗族地區(qū)的本土化,從而成為當(dāng)下仙馬村音樂文化的重要組成部分。而在以漢文化為主的社會政治、經(jīng)濟(jì)大環(huán)境里,今天仙馬村的文化風(fēng)俗習(xí)慣、教育、生產(chǎn)等社會生活的各個方面,或多或少都有因?yàn)闈h文化的進(jìn)入而受到影響,漢文化也因此成為了仙馬村音樂文化的一部分。伴隨現(xiàn)代商業(yè)文明的進(jìn)步和發(fā)展,人們的思想觀念有了很大的改變,各種復(fù)雜因素的相互作用,也在某種程度上影響到了這個地理位置偏僻的苗族村寨,仙馬村音樂文化的傳承和發(fā)展遇到了前所未有的困難。筆者通過大量文獻(xiàn)的查閱和對仙馬苗族村落進(jìn)行多次實(shí)地調(diào)查,試圖分析本地區(qū)音樂文化的現(xiàn)狀、分類、藝術(shù)形態(tài)和傳承等,希望能夠更加細(xì)致的闡述本地區(qū)音樂文化的風(fēng)貌和內(nèi)含,并對瀕臨消失的苗族傳統(tǒng)文化提出相應(yīng)的傳承建議。論文將從以下幾個方面進(jìn)行研究分析:第一章為緒論,通過闡述本文的選題依據(jù)、研究方法和研究價值等方面對仙馬村音樂文化的國內(nèi)外研究現(xiàn)狀進(jìn)行梳理和概括,以便為后面的音樂文化研究作理論鋪墊。第二章為仙馬村音樂文化環(huán)境概況,分別從自然和人文兩個方面對仙馬村音樂文化生存所需的外部環(huán)境進(jìn)行描述和概括。第三章為仙馬村音樂文化類型與音樂分析,從傳統(tǒng)音樂和宗教音樂這兩個方面對仙馬村的音樂文化進(jìn)行梳理和總結(jié),并對這兩種音樂類型的音樂藝術(shù)形態(tài)做出分析,分別從音樂織體、記譜方式、演唱方式等幾個方面分析這兩種音樂文化的音樂形態(tài)特征。第四章為仙馬村音樂文化現(xiàn)狀探析,先對仙馬村音樂文化的形成原因進(jìn)行分析,再指出仙馬村傳統(tǒng)音樂文化發(fā)展面臨的困境。第五章為論文的結(jié)語,對仙馬村音樂文化的發(fā)展問題提出自己的建議,然后對仙馬村的音樂文化現(xiàn)狀做一個全面的總結(jié)。
[Abstract]:The village of Xianma is located in the village of the Miao people of the Miao nationality of the Miao nationality in the northeast of Puding County, Anshun City, Guizhou Province. There are two branches of the Miao nationality, the Big Flower Miao and the Miao Miao, as well as a small number of Han people. However, the backward economic conditions did not affect the development of spiritual civilization in Xianma Village. Because of the influence of social and historical factors, the Hmong people in Xianma Village share the same belief---to believe in Christianity, and also retain some traditional cultures of their respective nationalities. Today, more than 130 years after the introduction of Christianity, there is still a mixed cultural phenomenon of Miao Culture, Han Culture and Western Culture represented by Christian Culture in Xianma Village. This is the result of the independent choice of the Hmong compatriots under the background of social development. This kind of social culture, which coexisted with the later heterogeneous culture, has deeply influenced the music culture of Xianma Village since more than a hundred years ago. The traditional music of the Miao nationality in Xianma Village is derived from the long life and labor of the Miao people, through which they express their feelings and convey information. After Christianity was introduced into the area at the beginning of the 20th century, Christian music culture collided with and blended with the Miao traditional music culture, and gradually completed the localization of Christian music in the Sima and Miao area. In order to become an important part of the current Xianma Village music culture. In the social, political and economic environment dominated by Han culture, today's Xianma Village's cultural customs, education, production and other aspects of social life are more or less affected by the entry of Han culture. Han culture has therefore become a part of the music culture of Sima Village. With the progress and development of modern commercial civilization, people's ideas have been greatly changed, and the interaction of various complex factors has also affected this remote Miao village to some extent. The inheritance and development of Xianma Village's music culture has encountered unprecedented difficulties. By consulting a large number of documents and investigating the villages of Xianma and Miao nationality, the author tries to analyze the present situation, classification, artistic form and inheritance of music culture in this area. It is hoped that the style and content of the music culture in this area can be elaborated in more detail, and the corresponding suggestions for inheriting the Miao traditional culture which are on the verge of disappearing can be put forward. The thesis will carry on the research analysis from the following several aspects: the first chapter is the introduction, through the elaboration this article selected the topic basis, the research method and the research value and so on aspect carries on the combing and the summary to the Xianma village music culture domestic and foreign research present situation. In order to make a theoretical foundation for the study of music culture. The second chapter describes and generalizes the external environment for the existence of Xianma village music culture from the aspects of nature and humanity. The third chapter is the music culture type and the music analysis of Xianma village, from the traditional music and the religious music these two aspects carries on the comb and the summary to the Xianma village music culture, and makes the analysis to these two kinds of music types music art form, This paper analyzes the music form characteristics of the two kinds of music culture from the aspects of musical texture, recording style and singing way. The fourth chapter is the analysis of the current situation of the Xianma village music culture, first analyzes the causes of the formation of Xianma village music culture, and then points out the difficulties faced by the development of Xianma village traditional music culture. The fifth chapter is the conclusion of the paper, put forward his own suggestions on the development of the music culture of Sima Village, and then make a comprehensive summary of the current situation of the music culture of Sima Village.
【學(xué)位授予單位】：貴州民族大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2017
【分類號】：J607

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