【摘要】：寶卷是說唱文學(xué)的一種,由唐代的變文與宋代和尚的“說經(jīng)”演變而成。20世紀(jì)20年代文學(xué)界把它作為一種民間俗文學(xué)進行研究,音樂界從20世紀(jì)80年代開始將它作為一種儀式音樂米研究。早先學(xué)者的研究多傾向于寶卷文本的分析和譜例的分析,對它所揭示的深層的社會文化內(nèi)涵以及在儀式中的功能及其音樂形態(tài)的分析相對較少。寶卷在不同地域中的音樂表現(xiàn)形式和功能不一樣,對不同地區(qū)的寶卷音樂來做分析比較,也是寶卷研究中一項必要的工作。 李世瑜、鄭振鐸和車錫倫三位學(xué)者都曾給寶卷下過定義,雖然他們對寶卷來源的看法有所不同,但是對它內(nèi)容和功能的看法卻是不謀而合的,即寶卷是一種同宗教和民間信仰活動相結(jié)合的說唱文學(xué)形式。從音樂學(xué)的角度來對寶卷下定義,它是民間的一種古老的說唱音樂形式。該定義從三個方面來界定:首先,它生存于民間。可能它不是一般意義上官方認可的音樂形式,“民俗資料帶有信仰上的私密性、政治上的脆弱性和保管上的破壞性”�！吨袊蟀倏迫珪�.戲曲曲藝》“中國現(xiàn)代曲藝曲種表”(第306頁)囊括了341種說唱音樂,卻沒有把河北地區(qū)的寶卷收錄進去,這與前面給寶卷所下的定義是相悖的。寶卷的流傳地域非常廣,在北方以河北、山西等地為主,在南方以江蘇等地為主,而且腳本眾多,但它卻是被曲藝音樂界所遺忘的一種說唱藝術(shù)門類。出現(xiàn)這種遺漏,究其原因,可能是因為過去人們將它視為邪教的教義和封建迷信的象征,因而忽視了它文字背后的音樂。其次,它是古老的。它產(chǎn)生時間久遠,可以追溯到唐代的俗講,據(jù)今有800多年的歷史。再次,它屬于說唱音樂。因為從具體的音樂形式來看,它是語言與歌唱結(jié)合的藝術(shù)品種。 很多學(xué)科對寶卷研究都有所涉獵,它目前已經(jīng)成為民間俗文學(xué)、音樂學(xué)、宗教學(xué)等學(xué)科所研究的對象,僅從音樂學(xué)的角度來看,它既屬于宗教音樂,又屬于儀式音樂與說唱音樂。本文著重從儀式和宗教這兩個角度對寶卷進行分析,分析寶卷及宣卷人的生存狀況以及寶卷文本和宣卷活動所反映的社會文化內(nèi)涵。對它的音樂形態(tài)的分析,筆者選擇南高洛的《后土皇帝寶卷》和北高洛的《白農(nóng)寶卷》。民族音樂學(xué)歸根結(jié)底是要通過音樂及其所生存的社會現(xiàn)象背后揭示其文化內(nèi)涵,所以音樂本體的分析是必不可少的環(huán)節(jié)。光未然(張光年)先生在云南收集并出版的彝族支系阿細人的民間敘事詩《阿細人的先雞》,據(jù)他回憶:“當(dāng)時阿細部族中的青年男女,能夠從頭至尾唱完這‘先雞'的全部的,已經(jīng)不多了。”十年后,隨著一名主要演唱者的去世,他所記錄的這個文本也成了絕唱。所以本文將兩部寶卷的所有演唱曲調(diào)全部記下,其目的不光僅僅是為了研究分析,這項工作在將來會顯示其必要性。另外,本文主要研究南北高洛兩村現(xiàn)存的寶卷,除將這兩村的寶卷做對比外,筆者力圖將所能搜集到其他地區(qū)的寶卷文本以及兩村內(nèi)的其他聲樂形式做一個比較。 車錫倫認為21世紀(jì)的寶卷研究,首要的任務(wù)是深入研究寶卷這種特殊的民間說唱形式發(fā)展過程中的諸問題,在此基礎(chǔ)上,各方面的研究始可自然整合,而逐步形成跨學(xué)科的“寶卷學(xué)”。本文以《后土皇帝寶卷》和《白農(nóng)寶卷》為研究對象,借助人類學(xué)、民俗學(xué)與社會學(xué)的研究方法和研究成果,發(fā)現(xiàn)女性神信仰與生育信仰是貫穿于這兩部寶卷存在和發(fā)展的精髓。
[Abstract]:Baojuan is a kind of rap literature, evolved from the Tang Dynasty variant and the Song Dynasty monk's "Shuo Jing". Literature circles in the 1920s studied it as a folk literature, and music circles began to study it as a ritual music meter from the 1980s. Previous scholars'research tended to analyze and compose Baojuan text. The analysis of examples reveals the deep social and cultural connotations, functions and musical forms in rituals. The musical forms and functions of Baojuan are different in different regions. The analysis and comparison of Baojuan music in different regions is also a necessary work in Baojuan research.
Li Shiyu, Zheng Zhendo and Che Xilun all defined Baojuan. Although they had different opinions on the origin of Baojuan, their opinions on its content and function coincided. Baojuan is a form of rap literature combined with religious and folk belief activities. It is an ancient form of folk rap music. The definition is defined in three ways: first, it exists in the people. Maybe it is not an officially recognized form of music in the general sense. "Folklore materials have religious privacy, political vulnerability and destructive preservation." Many disciplines have been involved in the study of treasure scrolls. It has become the object of folk literature, musicology, religion and other disciplines. From the perspective of musicology, it belongs to both religious music and ritual music and rap music. In the analysis of its musical form, the author chooses Nan Gaoluo's "Emperor's Pao Jian" and Bei Gaoluo's "Bai Nong Bao Jian". Ethnomusicology, in the final analysis, reveals its cultural connotation through music and the social phenomena it exists. So the analysis of music noumenon is an indispensable link. Mr. Zhang Guangnian collected and published the folk narrative poem "The First Chicken of the Ashi People" in Yunnan Province. According to his recollection, there were not many young men and women in the Ashi tribe who could sing the whole "First Chicken" from beginning to end. With the death of a major singer, his record of this text has become a climax. So this article will be two treasure scrolls of all the singing tunes recorded, not only for the purpose of research and analysis, this work will show its necessity in the future. In addition, this paper mainly studies the north and South Gaoluo two villages of the existing treasure scrolls, in addition to the two. In addition to the village treasure scrolls, the author tries to compare the treasure scrolls that can be collected in other areas and other forms of vocal music in the two villages.
Che Xilun holds that the first task of treasure scroll research in the 21st century is to study the problems in the development of treasure scroll, a special form of folk rap. On this basis, all aspects of research can be naturally integrated, and gradually form an interdisciplinary "treasure scroll study." This paper takes "Houttu Emperor's treasure scroll" and "Bai Nong's treasure scroll" as the research objects. With the help of anthropological, folkloric and sociological research methods and achievements, it is found that women's religious beliefs and reproductive beliefs are the essence of their existence and development.
【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】：2006
【分類號】：J609.2

【引證文獻】

相關(guān)期刊論文 前1條

1 李希;;于都縣寶卷講唱調(diào)查報告[J];戲劇之家(上半月);2012年01期

相關(guān)博士學(xué)位論文 前1條

1 李萍;無錫宣卷儀式音聲研究—宣卷之儀式性重訪[D];上海音樂學(xué)院;2012年

相關(guān)碩士學(xué)位論文 前2條

1 吳玉堂;河西寶卷的調(diào)查研究[D];西北師范大學(xué);2010年

2 劉東興;高洛音樂會《普庵咒》曲牌研究[D];河北大學(xué);2009年

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本文編號：2227974

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