發(fā)布時間：2018-05-18 04:02

  本文選題：“藏彝走廊” + 信仰��； 參考：《南京藝術(shù)學院》2007年博士論文

【摘要】： 本選題試圖通過“藏彝走廊”這樣一個歷史形成的民族區(qū)域內(nèi)的信仰和民俗樂舞選點考察與研究，探索其相關(guān)樂舞在不同文化層面中的生存狀態(tài)，闡述其與所處自然環(huán)境和文化環(huán)境之間的相互關(guān)系。 研究方法采用民族音樂學的田野考察，將所獲第一手材料作為基礎，綜合相關(guān)社會科學諸學科理論與方法，結(jié)合區(qū)域性研究視野，充分認識地理因素與樂舞文化的互動關(guān)系。 通過本選題的研究筆者認識到，信仰、民俗、儀式、樂舞不可分離的現(xiàn)象當為“藏彝走廊”樂舞文化的一個基本特色。信仰和民俗表現(xiàn)為儀式行為，儀式必然的伴隨著樂舞，而樂舞得以作為儀式的一部分并以此來表達信仰或民俗文化。這樣，樂舞已不是單純的“音樂舞蹈藝術(shù)”，而是扮演了重要社會功能角色的一種藝術(shù)文化現(xiàn)象，樂舞形態(tài)與樂舞概念、樂舞行為，共同構(gòu)成了儀式性民族樂舞文化綜合整體。這種以“樂舞形態(tài)”為內(nèi)核的儀式性民族樂舞文化綜合整體，貫穿于整個走廊文化，故而即可將這些選點考察與研究的民族樂舞對象，視為是其中的代表或典型，，其相關(guān)調(diào)查材料的梳理和論證，亦可為當下相關(guān)民族的非物質(zhì)文化遺產(chǎn)保護，提供出具體的實證性材料和理論依據(jù)。
[Abstract]:This paper attempts to explore the existence of the related music and dance in different cultural levels through the investigation and study of the religious and folk music and dance in the historical region of the Tibetan and Yi Corridor, which is a historical formation of the Tibetan and Yi Corridor. The relationship between it and its natural and cultural environment is expounded. The research method adopts the field investigation of ethnomusicology, taking the firsthand materials obtained as the basis, synthesizing the theories and methods of relevant social sciences, combining with the regional research field, fully understanding the interactive relationship between geographical factors and music and dance culture. Through the study of this topic, the author realized that belief, folklore, ceremony, music and dance can not be separated as the "Tibetan corridor" music and dance culture is a basic feature. Belief and folklore are expressed as ritual behavior, and ritual is inevitably accompanied by music and dance, and music and dance can be used as part of the ceremony to express belief or folk culture. In this way, music and dance are not simply "music and dance art", but an artistic and cultural phenomenon that plays an important role in social function. Music and dance form, music and dance concept, music and dance behavior, together constitute a comprehensive whole of ritual national music and dance culture. This kind of ritual national music and dance culture, which takes "music and dance form" as its core, runs through the whole corridor culture, so it can be regarded as the representative or typical of the folk music and dance objects which are inspected and studied at these selected points. The combing and argumentation of the relevant investigation materials can also provide concrete empirical material and theoretical basis for the protection of the intangible cultural heritage of the relevant nationalities at present.
【學位授予單位】：南京藝術(shù)學院
【學位級別】：博士
【學位授予年份】：2007
【分類號】：J607

【引證文獻】

相關(guān)期刊論文 前1條

1 王錦峰;;試論藏傳佛教寺院羌姆的舞蹈審美[J];南京農(nóng)業(yè)大學學報(社會科學版);2011年04期

相關(guān)碩士學位論文 前4條

1 李慕原;傳統(tǒng)的變遷[D];南京藝術(shù)學院;2011年

2 韓爽;藏彝走廊民族傳統(tǒng)體育文化的融合與發(fā)展研究[D];成都體育學院;2011年

3 曹艷;傈僳族“阿尺木刮”舞蹈生態(tài)文化調(diào)查研究[D];云南藝術(shù)學院;2012年

4 張靜;圣俗之間的音樂事象[D];南京藝術(shù)學院;2010年

本文編號：1904270