本文關(guān)鍵詞：坦桑尼亞桑給巴爾島塔若卜（Taarab）音樂研究　出處：《中央音樂學(xué)院》2016年博士論文　論文類型：學(xué)位論文

  更多相關(guān)文章： 塔若卜 桑給巴爾 斯瓦西里文化 融合音樂 馬卡姆調(diào)式 中東鼓節(jié)奏

【摘要】：本文以東非地區(qū)桑給巴爾島的塔若卜音樂為研究對(duì)象,對(duì)這一跨文化融合音樂的藝術(shù)價(jià)值、生存現(xiàn)狀、發(fā)展情況等進(jìn)行了探討。如今,塔若卜已經(jīng)成為了桑給巴爾乃至整個(gè)斯瓦西里文化的典型代表,這個(gè)集伊斯蘭音樂、斯瓦西里文化、非洲節(jié)奏、印度因素、西方元素為一身的音樂種類,有著復(fù)雜多變的音樂結(jié)構(gòu)、豐富多彩的風(fēng)格特征、無可取代的獨(dú)特魅力,在一百一十多年的歷史發(fā)展中,幾經(jīng)浮沉、生生不息。由于對(duì)塔若卜并未有過系統(tǒng)化的研究,故作者將兩個(gè)章節(jié)放在音樂本體的分析、梳理上,并試圖建立桑給巴爾音樂理論概念。其后,通過音樂透視文化,對(duì)塔若卜的教育傳承模式、傳播主體與受眾、社會(huì)結(jié)構(gòu)、女性主義等進(jìn)行深入分析。結(jié)合社會(huì)學(xué)、傳播學(xué)等相關(guān)理論知識(shí)對(duì)塔若卜進(jìn)行闡釋、梳理與探討。作為擁有悠久歷史的傳統(tǒng)音樂,塔若卜的曲式結(jié)構(gòu)、馬卡姆調(diào)式、恩格瑪鼓和中東鼓節(jié)奏等豐富多變,而其音樂本體卻從未有人提及,作者在前三個(gè)章節(jié)通過對(duì)塔若卜的認(rèn)知、對(duì)其演出程式、內(nèi)容及音樂特征的分析,并結(jié)合田野工作中接觸到的5種塔若卜音樂種類及其四個(gè)代表性樂團(tuán),將其音樂本體進(jìn)行了深刻地勾勒。由于研究對(duì)象及地區(qū)并無成熟而系統(tǒng)的音樂理論體系,故作者通過對(duì)四個(gè)樂團(tuán)具有代表性的音樂作品之本體分析,結(jié)合了伊斯蘭文化中埃及、阿拉伯等地較為成熟的音樂理論體系,將桑給巴爾地區(qū)塔若卜音樂理論系統(tǒng)地梳理、分析了出來,反之,這個(gè)研究結(jié)果對(duì)作者的采風(fēng)對(duì)象亦有很大的幫助。論文第四章是對(duì)近二十年桑給巴爾地區(qū)塔若卜音樂現(xiàn)狀的進(jìn)一步深入解析,以實(shí)地田野考察的方法對(duì)塔若卜音樂在當(dāng)代社會(huì)結(jié)構(gòu)中的變化進(jìn)行解讀,通過對(duì)塔若卜過去與現(xiàn)在的對(duì)比,揭示出其在傳播與融合等方面的發(fā)展與變革,并從中尋找出塔若卜音樂在東非斯瓦西里文化圈興盛發(fā)展的原因。論文第五章筆者將當(dāng)?shù)胤瑖?guó)家音樂學(xué)院作為研究樣本,以點(diǎn)及面,對(duì)整個(gè)桑給巴爾地區(qū)的音樂教育進(jìn)行了分析與總結(jié),剖析在這一經(jīng)濟(jì)文化并不發(fā)達(dá)的地區(qū),如何在當(dāng)?shù)卣疀]有任何扶持的情況下,對(duì)塔若卜音樂進(jìn)行合理地傳承,并由此形成音樂產(chǎn)業(yè),帶動(dòng)當(dāng)?shù)亟?jīng)濟(jì)發(fā)展。隨著世界各民族、各地區(qū)文化之間的碰撞與融合,多元文化早已成為人類發(fā)展史上的主題。不同文化間的吸收與融合是這些區(qū)域性文化保持其自身價(jià)值,并成為當(dāng)?shù)匚幕笳鞯囊粭l必然道路。塔若卜音樂作為東非地區(qū)的一個(gè)成熟樣本,從最初代表宮廷的主文化到被打壓的亞文化,再到如今作為桑給巴爾乃至斯瓦西里文化標(biāo)志的的東非典型音樂種類,其發(fā)展過程為我們理解傳統(tǒng)音樂的變化、融合提供了很好的例證。通過對(duì)塔若卜音樂的探究,一方面豐富了國(guó)內(nèi)對(duì)非洲音樂方面的研究,另一方面,通過研究過程中對(duì)四十多首塔若卜作品的分析,作者也試圖探索構(gòu)建桑給巴爾音樂理論概念的可能性,以期得到一個(gè)研究跨文化融合音樂的全新視角和啟發(fā)。
[Abstract]:In the East African region of the island of Zanzibar Taruobu music as the research object, the status quo on the survival of the cross-cultural fusion music artistic value, development and so on. Now, Taruobu has become Zanzibar and even the whole Vasily culture typical representative. This set of Islamic music, Vasily culture, African rhythm, India factors, Western elements as a kind of music, music has a complex structure, style rich and colorful, unique charm can be replaced, in the more than 110 year history of the development, after many ups and downs, life and growth in nature. Owing to Taruobu there have been no systematic research and analysis, the author of the two chapters on the music ontology combing, and tries to establish the Zanzibar music theory concept. Then, through the perspective of music culture, education and inheritance mode of Taruobu, communication subject With the audience, the social structure, feminism and other in-depth analysis. The combination of sociology, dissemination of knowledge theory related to Taruobu interpretation, through discussion. With a long history of traditional music, musical structure, Taruobu Markham mode, Engema drums and drums in the Middle East rhythm is rich and varied, but its music never it is mentioned, the author in the first three chapters based on the Taruobu cognition on the performance analysis program, content and music features, and a combination of 5 kinds of Taruobu music to contact in the fieldwork and the four representative Orchestra, the music made profound outline. Because of the music theory study is not the object and area of mature and systematic, so the author through the music ontology of four representative bands of analysis, combined with the Islamic culture in Egypt, Arabia and other places of The music theory system will be ripe, Taruobu music theory systematically in Zanzibar area, analyzed by contrast, the results of the author's folk songs is also a great help. The fourth chapter is the analysis of the current situation of further Taruobu music in Zanzibar in recent twenty years, the interpretation of the changes in the structure of contemporary society with the methods of field investigation Taruobu music, based on Taruobu compare the past and the present, reveals its in transmission and integration and other aspects of the development and reform, and find out if the music in the tower, East Fez Vasily cultural circle prosperous development. In the fifth chapter, the author will be the local National School of music as a sailboat the research sample, to the point and the surface, the music education in the entire Zanzibar area were analyzed and summarized, analyzed in the underdeveloped areas, How the local government does not have any support under the condition of reasonable Taruobu music heritage, and thus the formation of the music industry, promote local economic development. With the peoples of the world, collision and fusion between different regions of culture, multi culture has become the history of human development. The theme of inter cultural absorption and fusion is maintained the value of the regional culture, and become an inevitable road of local cultural symbols. Taruobu music in East Africa as a mature sample, the court from the initial representative of the main culture to the sub culture was suppressed, and then to today as Zanzibar and Vasily, the cultural symbol of East Africa typical types of music, the process of its development for us to understand the change of traditional music, fusion provides a good example. Through investigation of Taruobu music, a rich home of African music The research, on the other hand, analysis of the first more than 40 Taruobu works through the research process, the author tries to explore the possibility of constructing the Zanzibar music theory concept, in order to get a new perspective and inspired a study of cross cultural fusion music.

【學(xué)位授予單位】：中央音樂學(xué)院
【學(xué)位級(jí)別】：博士
【學(xué)位授予年份】：2016
【分類號(hào)】：J607
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本文編號(hào)：1410756