本文選題：蔡家洼五音大鼓 + 藝術(shù)形態(tài)��； 參考：《中國藝術(shù)研究院》2007年碩士論文

【摘要】： 本文從介紹蔡家洼五音大鼓的重新發(fā)現(xiàn)和存留狀況入手，通過對相關(guān)文獻(xiàn)資料的檢索與田野口述材料的考察，對蔡家洼五音大鼓與其它各種名目的“五音大鼓”相互關(guān)系的梳理，首先厘清了蔡家洼五音大鼓與相關(guān)形式的學(xué)術(shù)邊際，廓清了蔡家洼五音大鼓作為本文研究對象的具體目標(biāo)；然后借助作為蔡家洼五音大鼓本體構(gòu)成最為本質(zhì)也最“鮮活可感”的音樂曲調(diào)，及其與已有說法中相關(guān)曲種唱腔曲調(diào)的比較分析，在排查相互間影響借鑒具體關(guān)系的過程中，給出筆者關(guān)于蔡家洼五音大鼓基本形態(tài)和曲種淵源的學(xué)術(shù)描述；同時，對于“五音大鼓”稱謂中的“五音”之解及瓦琴作為伴奏樂器的特殊存在所引出的相關(guān)推測，也在研究梳理之后提出了自己的看法。從而在客觀上厘清并矯正了之前有關(guān)蔡家洼五音大鼓在音樂形態(tài)構(gòu)成、曲種歷史淵源、名稱含義指稱與特殊伴奏樂器等等方面的諸般認(rèn)識與說法。 本文認(rèn)為，蔡家洼五音大鼓是從歷史上京東北地區(qū)流傳的“五音大鼓”中分衍、變異出來的而獨立存在的一種，唱腔曲調(diào)的豐富性和伴奏樂器的獨特性而獨樹一幟。在其形成和演變的過程中，與京東大鼓即“落腔調(diào)”關(guān)系密切，音樂曲調(diào)的構(gòu)成則主要承繼了承德四平調(diào)大鼓的影響，同時也與樂亭大鼓、平谷調(diào)大鼓和大興再城營五音大鼓有著相互間的交流與影響。和同類鼓書或鼓曲形式相比，它不僅在藝術(shù)的構(gòu)成上較為獨特，而且在音樂的形態(tài)內(nèi)涵上比較豐富多彩。是曲藝中一種十分獨特而又珍貴的具備了“說書”和“唱曲”兩種審美功能的鼓書暨鼓曲形式。 關(guān)于“五音大鼓”的“五音”，筆者傾向于認(rèn)為是指五件伴奏樂器，或者五個人的演出組合。瓦琴作為伴奏樂器的特殊存在，一方面說明它在形成和發(fā)展的過程中，很可能是民間藝人在運用其進(jìn)行娛樂和謀生的過程中，偶然增加進(jìn)去用以伴奏而延傳下來的，，但也不能完全排除曾受到了清末陪都承德宮廷樂師的改造或影響。
[Abstract]:This paper begins with the introduction of the rediscovery and retention of Cai Jiawa Wuyin Drum, through the retrieval of relevant literature and the investigation of field oral materials. Combing the relationship between Caijiawa Wuyin Drum and other names of "Wuyin Drum", this paper firstly clarifies the academic margin of Caijiawa Wuyin Drum and related forms, and clarifies the specific goal of Caijiawa Wuyin Drum as the object of this paper. Then, with the help of the musical tunes, which constitute the most essential and the most "vivid" music as the Noumenon of Caijiawa Wuyin Drum, and their comparative analysis with the relevant vocal tunes in the existing theories, we can learn from the concrete relationship in the process of investigating the influence of each other on each other. The author gives an academic description of the basic form and origin of the Wuyin Drum in Cai Jiawa, at the same time, the relevant speculation about the solution of "Wuyin" in the appellation "Wuyin Drum" and the special existence of Waxin as an accompaniment instrument is given. Also in the study after combing put forward their own views. Thus it objectively clarifies and corrects the previous understandings and statements of Cai Jiawa Wuyin Drum in the aspects of musical form composition, historical origin of music species, reference of name meaning and special accompaniment instrument, and so on. This paper holds that Cai Jiawa Wuyin Drum is a kind of independent existence which is derived from the "Five-tone Drum" spread in the northeast of Beijing in history. It is unique because of the richness of the melody and the uniqueness of the accompaniment instrument. In the process of its formation and evolution, it is closely related to the JingDong Drum, that is, "falling tone". The composition of musical tunes mainly inherits the influence of Chengde Siping Drum, and also with the Leping Drum. Pinggu tune Dagu and Daxing Zaicheng camp five-tone drums have a mutual exchange and influence. Compared with the similar drum books or drum music forms, it is not only more unique in the composition of art, but also more colorful in the connotation of music form. It is a unique and precious form of drum book and music with the aesthetic functions of "storytelling" and "singing music". The author tends to refer to five accompaniment instruments, or a combination of five people. The special existence of Wachan as an accompaniment instrument, on the one hand, shows that in the process of its formation and development, it is very likely that folk artists, in the process of using it for entertainment and livelihood, accidentally added it to accompany and handed it down. However, it can not be completely ruled out that it was transformed or influenced by Chengde court musicians in the late Qing Dynasty.
【學(xué)位授予單位】：中國藝術(shù)研究院
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2007
【分類號】：J617.9

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