發(fā)布時間：2018-06-02 06:09

  本文選題：龍舟文化 + 音樂人類學�。� 參考：《東北師范大學》2017年碩士論文

【摘要】：龍舟文化是我國民族傳統(tǒng)文化中重要的組成部分,幾千年來一直深受廣大群眾喜愛,而龍舟號子是龍舟文化中不可缺少的內容之一,在全國的大部分地方尤其在江南荊楚地帶仍然延續(xù)著劃龍舟時唱龍舟號子的習俗。龍舟號子是指于端午節(jié)期間在龍舟上喊唱、依附于龍舟活動的一種民歌形式,具體來說是號子形式;其內容通常反映當?shù)乩习傩盏膭趧由a(chǎn)、社會生活的方方面面,表達民眾熱愛生活、積極樂觀的生活態(tài)度和情感;喊唱方式有“一領眾和”、“眾人齊唱”。在江西省廣豐區(qū)回樹村,龍舟活動倍受人們的歡迎,龍舟號子是活動不可或缺的一個傳統(tǒng)民俗音樂項目,它長時間內與人們的生活保持緊密的關系,具有音樂性、文學性、宗教性等特點;喊唱時,龍舟號子是由鼓手和劃槳手共同完成,鼓手一邊敲鼓一邊領唱,劃槳手幫腔。本文以回樹村龍舟號子為調查研究對象,對該村龍舟號子進行全方面的調查,并以音樂人類學的視角來探討這一古老而現(xiàn)代的民俗音樂形式,共五章,各章節(jié)主要內容如下:第一章:主要對龍舟號子的生存環(huán)境進行敘述,其中包括回樹村的人文地理及號子的活動場所兩方面,具體辨析了回樹村名字的由來、回樹村人口、自然環(huán)境及回樹村的端午節(jié)情況,并簡略介紹回樹村龍舟活動的場所與龍舟的各個部件等象征意義,從其文化背景上對龍舟號子給予關照。第二章:本章重點探討回樹村的龍舟號子,主要從號子的歌詞、號子的音樂兩大方面論述,由于目前村內龍舟號子的旋律曲調僅存一首,鼓手們創(chuàng)作了豐富的歌詞來填補缺陷,人們以吳方言喊唱,歌詞內容涉及社會生活、生產(chǎn)勞動、神話傳說等多方面,其中更有暗含早期民間信仰的“幫腔”部分;而音樂主要從調式調性、結構、節(jié)拍節(jié)奏方面分析了號子,從其號子所在的環(huán)節(jié)與船員的需要方面討論了為何號子沒有勞動號子所特有的律動性,而更像是一種山歌或者是民歌的形式;最后對號子的協(xié)調動作、釋放身心壓力、表達情感方面的功能進行論述。第三章:不同地域的人們對于音樂的認識和表現(xiàn)形式會有其自己不一樣的地方,因此本章主要討論龍舟號子的喊唱與喊唱號子的船員,在喊唱方面,船員們一般都使用自然嗓音,方式上則運用號子的一般特點,即一領眾和的形式,鼓手唱先唱主句,劃槳手唱幫腔,以相同的結構循環(huán)往復。更具特點的是有經(jīng)驗的鼓手會在歌詞、襯詞、鼓點方面做出即興的創(chuàng)造,使得現(xiàn)場氛圍更活躍;船員方面,筆者分別對其性別、身份、年齡、文化程度方面做了問卷調查,發(fā)現(xiàn)船員存在女性的缺席、船員“各司其職”、號子傳承者老年化、文化程度高低與對龍舟號子熟悉程度呈負相關的特點。第四章:由于龍舟活動和龍舟號子之間水乳交融的關系,本章主要講龍舟活動,及其各個環(huán)節(jié)與龍舟號子的關系,其中包括龍舟活動的準備:經(jīng)費準備、龍舟準備、船員準備、儀式準備等;龍舟活動的環(huán)節(jié):游船、賽船、接船、回巢及相關民風民俗與這些環(huán)節(jié)中所唱的號子,特別是游船環(huán)節(jié)的號子。第五章:本章也是通過現(xiàn)場調查的方式,對龍舟號子的傳承方式、與傳承效果做出敘述與分析,發(fā)現(xiàn)其存在的“口傳心授”、“現(xiàn)場模仿”、“家庭的游戲”三種傳承方式,其傳承效果也并不理想;當然本章也試圖揭露龍舟號子在回樹村發(fā)展出現(xiàn)危機的其他原因:現(xiàn)代化沖擊、傳統(tǒng)性別思想的束縛、民眾保護意識淡薄、音樂觀念與音樂背離、龍舟活動機制不完善;最后簡單闡述了筆者關于傳承龍舟號子的對策。
[Abstract]:Dragon boat culture is an important part of our national traditional culture. It has been loved by the masses for thousands of years, and dragon boat chant is one of the indispensable contents of dragon boat culture. In most parts of the country, especially in the Jingchu region of the south of the Yangtze River, the custom of singing Dragon Boat chant when drawing dragon boat is still continued. During the festival in the Dragon Boat Festival, a folk song, which is attached to the Dragon Boat activity, is a form of folk song, which is specifically the form of the horn; its content usually reflects the labor and production of the local people, the aspects of the social life, the expression of the people's love of life, the positive and optimistic attitude and emotion of life, and the way of shouting and singing "one leader and the crowd" and "the chorus of public singing". In the Hui tree village in Guangfeng District of Jiangxi Province, Dragon Boat activities are popular with people. The Dragon Boat chant is an indispensable traditional folk music project. It has a close relationship with people's life for a long time. It has the characteristics of musicality, literature, religion and so on. When yelling, the Dragon Boat chant is completed by the drummer and the oar hand, drummer. This paper takes the Dragon Boat chant as the research object, investigates the Dragon Boat chant in the village, and probes into the ancient and modern folk music form from the perspective of musical anthropology. The main contents of the chapters are as follows: the first chapter is the survival of the Dragon Boat chant. The environment is narrated, including two aspects of the cultural geography of the village, the origin of the name of the Hui village, the population of the tree village, the natural environment and the Dragon Boat Festival in the Hui tree village, and the symbolic meaning of the location of the Dragon Boat activities and the parts of the dragon boat, and the cultural background of the village. The second chapter: this chapter focuses on the Dragon Boat chant of the Hui tree village, mainly from the song lyrics of the chant and the music of the chant in two aspects. As the melody of the Dragon Boat chant in the village is only one of the melody tunes, the drummers have created rich lyrics to fill the defects, and people shout and sing in the Wu dialect, the content of the lyrics involves social life. There are many aspects of productive labor, mythology and legends, including the "Gang" part of the early folklore, and the music is mainly analyzed in terms of the tone, structure, rhythm and rhythm. The form of a mountain song or a folk song; finally, the coordination of the chant, the release of physical and mental pressure, the expression of emotional functions to discuss. The third chapter: the people in different regions of the music understanding and expression will have their own different places, so this chapter mainly discusses the crew of the Dragon Boat chant singing and shouting and singing, shouting In singing, the crew generally use the natural voice. In the way, the general characteristics of the horn are used, that is, the form of a leader, the drummer sings the main sentence, the paddle hand sings the cavity, and the same structure is repeated. The more characteristic is that the experienced drummer will make improvisational creation in the lyrics, the words, the drums, and make the scene more lively. On the seafarer, the author made a questionnaire survey on their sex, identity, age and cultural degree, and found that the crew was absent from women, the crew was "different from their duties", "the successors of the number" were old, the level of culture was negatively related to the familiarity with the Dragon boat chant. The fourth chapter was due to the water between Dragon Boat activities and dragon boat chant. This chapter mainly talks about the relationship between Dragon Boat activities and its various links and the Dragon Boat chant, including the preparation of dragon boat activities, the preparation of the dragon boat, the preparation of the dragon boat, the preparation of the crew, the preparation of the ceremony, and so on; the link of the Dragon boat activities: the boat, the ship, the ship, the nest and the folk customs and the songs sung in these links, especially the cruise ship. The fifth chapter: this chapter is also through the way of field investigation, the inheritance mode of dragon boat chant, and the inheritance effect of the narrative and analysis, found that the existence of "oral and oral teaching", "scene imitation", "Family Games" three ways of inheritance, its inheritance effect is not ideal; of course, this chapter also attempts to expose the dragon boat number Other reasons for the development of the crisis in the village are: the impact of modernization, the shackles of traditional gender thought, the weak consciousness of the public protection, the deviation of the music concept and music, and the imperfect mechanism of the Dragon Boat activity; finally, the author briefly expounds the Countermeasures of the author's inheritance of the Dragon Boat chant.
【學位授予單位】：東北師范大學
【學位級別】：碩士
【學位授予年份】：2017
【分類號】：J607

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本文編號：1967712