【摘要】： 宗族祭祖是我國古老的四大禮俗“冠婚喪祭”之一。江西省贛州市客家人聚居區(qū)是目前我國保持這一禮俗最隆重的地區(qū),其宗族祭祀活動(dòng)至今普遍盛行于當(dāng)?shù)氐拇宕宓甑�。該儀式行為是我們探究客家地區(qū)文化的重要窗口,也是我們研究當(dāng)?shù)孛耖g音樂重要的途徑。 本文以石城縣長溪村賴氏祭祖和于都縣寒信村蕭氏祭祖為例,立足于音樂人類學(xué)的研究視角,詳細(xì)記錄兩個(gè)個(gè)案的儀式過程;通過歷時(shí)性和共時(shí)性的比較,探討儀式及與之相關(guān)行為存在的深層原因;通過對民間藝人的采錄,建構(gòu)民間藝人知識(shí)體系中的音樂行為模式;通過對音樂本體的分析,揭示音樂與儀式的內(nèi)在聯(lián)系,闡述音樂如何在儀式中發(fā)揮其特殊的社會(huì)和文化功能;最后提出,構(gòu)成儀式的每一樣事物都彰顯出一個(gè)宗族強(qiáng)大凝聚力的文化內(nèi)核。
[Abstract]:Ancestral worship is one of the four ancient rituals and customs in China. Ganzhou Hakka settlement area in Jiangxi Province is the most ceremonious area in our country at present. Its clan sacrifice activities are prevalent in the local village and village shop up to now. The ritual behavior is an important window for us to explore Hakka culture and an important way for us to study local folk music. Taking Lai's ancestors of Changxi Village in Shicheng County and Xiao's ancestors of Hanxin Village in Yudu County as examples, based on the perspective of musical anthropology, this paper records in detail the ritual process of the two cases, and through diachronic and synchronic comparison, This paper discusses the deep reasons for the existence of rituals and related behaviors; constructs the musical behavior patterns in the knowledge system of folk artists by recording folk artists; through the analysis of music Noumenon, reveals the internal relationship between music and ritual. This paper expounds how music exerts its special social and cultural functions in ritual, and finally points out that every thing constituting ritual shows a strong cohesive cultural core of clan.
【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】：2008
【分類號】：J607

【引證文獻(xiàn)】

相關(guān)博士學(xué)位論文 前1條

1 何巧云;清代徽州祭祖研究[D];安徽大學(xué);2010年

相關(guān)碩士學(xué)位論文 前1條

1 李臻;廣西博白客家“做齋”儀式音樂研究[D];廣西藝術(shù)學(xué)院;2011年

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本文編號：2121325