發(fā)布時間：2018-07-02 12:02

  本文選題：民間信仰 + 民間儀式�。� 參考：《福建師范大學》2009年博士論文

【摘要】： 杠天神儀式是豫南皖西民間的主要祭神形式,至今仍有“大祭”、“家祭”、“野祭”和“公祭”在民間活動;祭祀過程包括請神、祈神、送神的純儀式部分,和酬神儀式的杠天神戲表演部分。本文從文化人類學,宗教學以及民族音樂學的學科角度,探討豫南皖西民間儀式音樂的用樂原則,探尋音樂在儀式過程中的功能和作用,揭示杠天神儀式音樂研究的民族音樂學價值。 第一章圍繞杠天神儀式的概念、功能、歷史和現(xiàn)狀展開敘述,認為,杠天神儀式是中原民間多神信仰的表現(xiàn)形式。它源于當?shù)丶漓胛璧浮盁舫鲎印?是神師職業(yè)化、家族化的重要表現(xiàn)。其中,杠天神戲是以儀式為載體,以代言為表達方式,以神話人物為描寫對象,以現(xiàn)實的善惡報應(yīng)為表演內(nèi)容,以歌舞唱白為表演手段,以祈福攘災(zāi)為目的的儀式戲曲,具有信仰、祭祀、儀式和表演四大功能,目前仍活躍在豫南皖西民間的信仰體系中。 第二章從豫南皖西民間神靈譜系的分類入手,認為,豫南皖西民間屬于以家神、祖先神和人祖神為核心的俗神信仰范疇,是原始思維的一種遺留,在民間產(chǎn)生著極強的互滲作用;它不僅是一種權(quán)力建構(gòu)下的神圣符號體系,而且還具有結(jié)構(gòu)化、體系化的行為特征,也是杠天神儀式的用樂基礎(chǔ)。 第三章記錄了豫南皖西四種類型的杠天神儀式過程;揭示了神師、樂師和事主之間的各種關(guān)系,重點描述了神師和樂師的用樂方法、用樂過程,認為,杠天神儀式的用樂是根據(jù)儀式的規(guī)模和時間確定儀式的用樂范圍,是以俗神為核心的儀式展演。 第四章從“近-遠”、“時-空”和“行-意”探討杠天神儀式的用樂原則,認為,在儀式過程中,音樂成品受日常使用的影響,有著一般和特殊的含意區(qū)分;作為儀式用樂它有“定”的特質(zhì),作為戲曲用樂又多具“活”的屬性;它在使用自有音樂的同時,吸收了其他種類的音樂成品,形成儀式用樂的“定-活”范式。 第五章在結(jié)構(gòu)主義理論基礎(chǔ)上,視儀式為一部完整的音樂成品。認為,儀式展演本身具有藝術(shù)創(chuàng)造的性質(zhì),它不僅符合音樂的整體結(jié)構(gòu)、段結(jié)構(gòu)和腔、調(diào)結(jié)構(gòu)三個要素,而且還符合聲音把握和控制的一般原則,因而構(gòu)成了一套自有的音樂結(jié)構(gòu)原則。 第六章杠天神儀式音樂研究是在民族音樂學學科理論指導(dǎo)下進行的個案研究,它不盡通過研究音樂來關(guān)照儀式的行為過程,同時它還可以采用跨學科的研究方法探討儀式音樂的獨特性,探索民間信仰的儀式行為在社會生活中的潛在意義。 總之,杠天神儀式音樂是豫南皖西民間信仰體系中的重要組成部分,它以俗神信仰為核心,以當?shù)氐囊魳匪夭臑橹饕袈?構(gòu)建了一個獨特的地方性信仰系統(tǒng)。
[Abstract]:As the main form of worship among the people in the west of Anhui Province in southern Henan Province, there are still "great sacrifices", "family sacrifices", "wild sacrifices" and "public sacrifices" in folk activities. The sacrificial process includes the pure ritual of inviting God, praying for God, and sending God to God. And the ritual of the god of the bars of the performing part of the god. From the angle of cultural anthropology, religious education and ethnomusicology, this paper probes into the principle of using music in folk ritual music in the west of Anhui Province, and explores the function and function of music in the process of ceremony. It reveals the value of ethnomusicology in the study of the ritual music of the god of God. The first chapter focuses on the concept, function, history and present situation of the ritual of the god of the bars, and holds that the ritual of the god of the bars is the manifestation of the polytheistic belief of the people in the Central Plains. It originated from the local sacrificial dance "lantern out of the son", which is an important manifestation of the professionalization and familization of deities. Among them, Sang-Tianshen Opera is a ritual opera with ritual as its carrier, endorsements as its expression, mythical figures as its object of description, realistic retribution for good and evil as its performing content, singing, singing and singing as performing means, and praying for happiness and disaster as its purpose. It has four functions of belief, sacrifice, ceremony and performance, and is still active in the folk belief system in the west of southern Henan province. The second chapter starts with the classification of folk deities genealogy in the western part of Anhui province, and thinks that the folk people in the west part of Henan province belong to the category of common gods belief with the core of home god, ancestor god and human ancestor god, which is a kind of legacy of primitive thinking. It is not only a sacred symbol system under the construction of power, but also has the behavior characteristics of structure and systematization, and it is also the basis of the use of music in the ritual of the god of God. The third chapter records the four types of ritual processes of the gods in the west of Anhui Province in the south of Henan Province, reveals the various relationships among the gods, musicians and the subject, and focuses on describing the methods and the process of using music. According to the scale and time of the ritual, the use of music is determined by the scope of the ritual, and it is a ceremonial exhibition with the common gods as the core. The fourth chapter discusses the principle of using music from "near to far", "time-space" and "line-meaning", and holds that in the process of ceremony, the musical products are influenced by daily use and have general and special meanings. As a ritual music, it has the characteristics of "fixed", as the opera music has many "living" attributes, it uses its own music, at the same time, it absorbs other kinds of musical products, and forms the ritual music "fixed-live" paradigm. The fifth chapter regards ritual as a complete musical product on the basis of structuralism theory. It is believed that the ritual exhibition itself has the nature of artistic creation, which not only accords with the three elements of music, including the whole structure, the section structure and the cavity, but also accords with the general principles of sound control and control. Thus constitute a set of musical structure of its own principles. The sixth chapter is a case study under the guidance of ethnomusicology theory. It does not concern the behavior process of ritual by studying music. At the same time, it can also use interdisciplinary research methods to explore the uniqueness of ritual music, and explore the potential significance of ritual behavior of folk belief in social life. In a word, the ritual music is an important part of the folk belief system in the west of Anhui Province in the south of Henan Province. It takes the popular God belief as the core and the local music material as the main sound, and constructs a unique local belief system.
【學位授予單位】：福建師范大學
【學位級別】：博士
【學位授予年份】：2009
【分類號】：J607

【引證文獻】

相關(guān)期刊論文 前2條

1 李敬民;;在神圣與凡俗之間轉(zhuǎn)換——以豫南皖西民間的儀式舞蹈展演模式為依據(jù)[J];信陽師范學院學報(哲學社會科學版);2012年03期

2 馬奇;;在靈魂的期盼中“開路”——河南省桐柏縣毛集鎮(zhèn)段莊喪葬“開路”儀式的音聲調(diào)查報告[J];中國音樂;2013年03期

相關(guān)博士學位論文 前1條

1 屠金梅;豫東太昊陵廟會音樂文化研究[D];福建師范大學;2011年

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本文編號：2090053