【摘要】：苗族巴岱儀式是苗族以祖先崇拜為核心的宗教信仰文化,源于苗人萬物有靈的信仰,巫師巴岱是苗人對祭祀儀式的主持人的稱呼。苗族巴岱儀式在流傳與演變中內部出現(xiàn)了兩種分徑,即苗巴岱(巴岱雄)與漢巴岱(巴岱扎)。苗巴岱代表苗教,漢巴岱代表客教,兩類巴岱各司其職。臘爾山苗族巴岱儀式主要有“椎�！�、“椎豬”、“還儺愿”、“送亡靈”等,祭祀場面具有鮮明的苗族特色。從儀式音聲個案入手對苗族巴岱儀式進行音樂人類學剖析,探究其儀式過程與音聲境遇,對其進行歸納與分析,尋找其中蘊含的文化特征。苗族巴岱儀式個案中的音聲主要包括巫師巴岱的吟唱聲、念誦聲、法器聲以及特定儀式境遇內的默聲等,音聲的含義主要是人與神之間的感知與交流,由于各種音聲的穿插,整個儀式的進程才得以有條不紊的進行。巴岱儀式音聲中的默聲是一種只可意會不可言傳的音聲,巫師巴岱作為與神靈的溝通者,默聲架起了信仰的橋梁。臘爾山苗族巴岱儀式的文化特征主蘊含于儀式儀節(jié)之內,既有苗族文化的特性,又有民俗文化的共性。巴岱儀式是苗人禮俗相成的展現(xiàn),既能宣泄情感,又能規(guī)范苗人的行為。巴岱儀式是苗人尋音救度的訴求,上能祈求神靈,下能慰藉聽者。巴岱儀式是苗人娛神娛人的韻律,苗人希望通過舉辦儀式以求得鬼神的庇佑,過上更好的生活。巴岱儀式是苗漢文化融合的表達,既體現(xiàn)了苗漢文化的密切融合,同時還體現(xiàn)了苗漢文化的和而不同。巴岱宗教儀式信仰維系著苗族社會的穩(wěn)定性,承載了苗族音樂藝術文化的發(fā)展,傳承延續(xù)了苗族傳統(tǒng)民俗文化,是苗族藝術文化瑰寶,是我國重要的非物質文化遺產。臘爾山苗族巴岱祭祀儀式現(xiàn)今的生存空間已然日趨狹窄,僅存的巫師巴岱背負著民族文化傳承的巨大壓力。臘爾山苗族巴岱儀式亟待得到妥善的保護以及更好的傳承,發(fā)揮屬于其自身的文化價值。
[Abstract]:Ba Dai ceremony of Miao nationality is a religious belief culture with ancestor worship as the core, originated from Miao people's belief that all things have spirit. Ba Dai, the wizard, is the name of Miao people to the host of sacrificial ceremony. The ceremony of Ba Dai of Miao nationality appeared two kinds of paths in its spread and evolution, namely Miao Badai (Badaixiong) and Hambadai (Badaiza). Miao Badai represents Miao Education, Hambadai represents Hakka Education, two categories of Ba Dai perform their respective duties. The ceremony of Ba Dai of Miao nationality in La'ershan mainly includes "vertebra cow", "vertebra pig", "exorcism wish", "sending dead spirit" and so on. The sacrificial scene has distinct Miao nationality characteristic. This paper analyzes the musical anthropology of Ba Dai ceremony of Miao nationality from the case of ritual sound, probes into its ritual process and sound situation, sums up and analyzes it, and looks for the cultural characteristics contained therein. In the Miao nationality Ba Dai ritual case, the sound mainly includes the sorcerer Ba Dai's singing, the recitation, the dharma and the silent sound in the specific ritual circumstances, and so on. The meaning of the sound is mainly the perception and communication between man and God, due to the interspersing of all kinds of sounds. The whole process of the ceremony was carried out in an orderly manner. The silent sound of Ba Dai's ritual sound is a kind of unspeakable sound. Ba Dai, the wizard, as a communicator of gods and spirits, has formed a bridge of belief. The cultural characteristics of Ba Dai ceremony in Laershan Miao nationality are mainly contained in the ceremony and ceremony festival, which has not only the characteristics of Miao culture, but also the commonality of folk culture. Ba Dai ceremony is a demonstration of Miao people's etiquette and customs, which can not only vent emotion, but also regulate Miao people's behavior. Ba Dai ceremony is the appeal of Miao people's voice-seeking rescue degree, the upper can pray for the gods, and the next can comfort the listener. Ba Dai ceremony is the rhythm that Miao people entertain and entertain people. Miao people hope to live a better life by holding ceremony to obtain the blessing of ghosts and gods. Ba Dai ceremony is the expression of Miao-Han culture fusion, which not only embodies the close integration of Miao-Han culture, but also reflects the harmony but difference of Miao-Han culture. The religious ritual belief of Ba Dai maintains the stability of Miao society, carries the development of Miao music art and culture, inherits and continues the traditional folk culture of Miao nationality, is a treasure of Miao nationality art and culture, and is an important intangible cultural heritage of our country. The living space of Ba Dai sacrificial ceremony of Miao nationality in La'ershan has become more and more narrow, and Ba Dai, the only wizard, is under great pressure to inherit the national culture. Ba Dai ceremony of Miao nationality in La'ershan should be properly protected and better inherited, and its own cultural value should be brought into play.
【學位授予單位】：湖南科技大學
【學位級別】：碩士
【學位授予年份】：2017
【分類號】：J607

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