湖南瑶传道教音乐与梅山文化

【作者】 赵书峰；

【导师】 杨民康；

【作者基本信息】 中央音乐学院 ， 中国少数民族传统音乐， 2011， 博士

【摘要】 本文以民族志、互文性理论及音乐形态学等理论为基础,对湖南瑶族还家愿仪式与梅山教仪式音乐及其之间的关系问题进行了考察、分析与比较研究。文章首先对蓝山县瑶族还家愿、资兴市瑶族梅山教中的“祭梅山神”仪式,以及隆回县古梅山峒区汉族梅山教中的“和娘娘”仪式进行了详尽描述,并在此基础上进行了分析与比较,从而揭示出湖南瑶传道教与梅山教之间所具有的深层的文化互文关系。本文的第一章主要介绍梅山文化的概念、内涵及区域界定等相关内容,并对瑶传道教与梅山教的文化内涵及分类给予了界定。第二章中,笔者运用音乐民族志的书写方法,对具有瑶传道教色彩的湖南蓝山瑶族还家愿、资兴市瑶族祭梅山神,及隆回县古梅山峒区汉族梅山教中的“和娘娘”仪式及其音乐活动过程进行了全程实录。第三章主要是对上述音乐的风格与形态特征进行的描述与剖析,笔者力求从音乐方面观照和审视出如上个案之间所存在的文化互文关系。第四章中,笔者运用互文性及表演民族志的相关理论,分析和阐释了湖南瑶传道教与梅山教仪式及其音乐之间的文化内涵,瑶、汉梅山教仪式之间所具有的文化关系,及瑶、汉道教仪式音乐及文化之间的互文关系。第五章主要是结合笔者的多次考察感受,对湖南瑶传道教与梅山教仪式音乐的生存、发展现状给予的初步考察。第五章是在笔者数次田野工作收上对湖南瑶传道教与梅山教仪式音乐的生存、发展现状进行的分析与解读。综上所述,本文研究结论如下：其一,湖南瑶传道教与梅山教仪式音乐是梅山文化历史语境中瑶、汉文化互动、交融的结果；其二,上述仪式及其音乐活动的描述与分析充分说明梅山文化中至今仍存在着一种农耕文化与渔猎文化类型二维并置的局面；其三,两种梅山教仪式及其音乐,是瑶、汉民族对“三峒梅山”信仰的选择性继承、吸收与改造的结果。其中,瑶族梅山教的信仰体系、仪式及音声特性,具有鲜明的瑶传道教文化色彩；其四,基于对古梅山峒区汉族梅山教(以“和娘娘”仪式为例)及瑶族还家愿仪式音乐结构的分析,结合蒲亨强先生提出的“核腔”理论一瑶族音乐“大声韵”(do-mi-sol)结构特性的“核腔”是北音“宽声韵”(sol-do-re)与南音“小声韵”(la-do-mi)两类不同结构的音调在江汉荆楚一带长期融合、相互适应的产物”,本文论证了瑶族传统音乐中“核腔”结构的形成与古梅山峒区汉族梅山教仪式音乐中的“核腔”结构存在着密不可分的关系。该研究同时说明以瑶族梅山教、瑶族还家愿为代表的湖南瑶传道教仪式音乐的形成是梅山文化历史语境中,瑶、汉文化互动、互融的历史产物,此结论亦进一步论证了瑶族来源于“核心圈”(又称“古梅山峒区域”)内的这一观点。更多还原

【Abstract】 Based upon theoretical framework of Music Ethnography, Intertextuality and Music Morphology, the dissertation gives a exhaustive analysis, comparison and study on the Yao ethnic group’s ritual music for promise fulfillment in Hunnan province, ritual music of the Meishan faiths, and the relationship between them.The dissertation elaborates the ritual for promise fulfillment in LanShan county, the Yao ethnic group’s sacrificial ritual for the Moundety in Zixing city and the Han ethnic group’s HeNiangniang ritual of Meishan faiths in the old Meishan mountainous area in Longhui county, and then makes a detailed analysis and comparison of them so as to reveal the inner intertextual relationship between the Daoism succeeded by the Yao ethnic group and the Meishan faiths within the cultural and historical context of Meishan.Chapter 1 introduces the concept, connotation, regional scoping of the Meishan culture and related links, elaborates the connotation as well as the classification of the Daoism succeeded by the Yao ethnic group and the Meishan faiths.Chapter 2 gives complete and accurate description of the Yao ethnic group’s ritual for promise fulfillment in Hunan provience, the Yao ethnic group’s ritual for the Moundety in Zixing province and the Han ethnic group’s HeNiangniang ritual of Meishan faiths in the old Meishan mountainous area in Longhui county by applying the writing method of Musical Ethnography.Chapter 3 analyzes the style and morphological characteristics of the above-mentioned ritual music so as to reveal the intertextual relationship between them from the perspective of music.Chapter 4 interprets the cultural connotation of the ritual of the Daoism succeeded by the Yao ethnic group, the rite of the Meishan faiths, elaborates the cultural ties between the Meishan faiths of the Han ethnic group and that of Yao ethnic group, and analyzes the intertextual relationship between the Yao ethnic group’s ritual music of the Daoism and the Han ethnic group’s ritual music of the Daoism by theories of intertextuality and Performance Ethnography.Chapter 5 elaborates the current status and development trends of the ritual music of the Daoism succeeded by the Yao ethnic group in Hunan and the ritual music of the Meishan faiths based on the author’s multiple fieldworks.In conclusion, the study shows:1. Ritual music of the Daoism succeeded by the Yao ethnic group and ritual music of the Meishan faiths are results of the exchanging and interacting between the culture of Yao ethnic group and the culture of Han ethnic group; 2. There is a juxtaposing state existing in Meishan culture——coexistence of agricultural culture and fishing culture; 3. The two styles of rituals and their music of the Meishan faiths derive from the Yao and Han ethnic groups’ inheritance, assimilation and reconstruction of "San Dong Mei Shan"(三峒梅山)faiths. The Yao ethnic group’s belief system of Meishan faiths, the rituals and the sounds are of distinct characteristics of the Daoism succeeded by the Yao ethnic group. 4. Combining with the theory of "Heqiang (main structure of melody)"formulated by Prof. Pu Hengqiang, the analysis on musical structure of the Han ethnic group’s ritual music of Meishan faiths in the old Meishan mountainous area (taking "He Niangniang"ritual for example) and the Yao ethnic group’s ritual music for promise fulfillment shows that formulation of "Heqiang"of traditional Yao ethnic group’s music has close connection with the "Heqiang of Han ethnic group’s ritual music of Meishan faiths in old Meishan mountainous area. Meanwhile, the study shows that the formulation of the ritual music of the Daoism succeeded by the Yao ethnic minority group in Hunan province is the historical creation of the exchange and interaction between Yao ethnic group’s culture and Han ethnic group’s culture, Which also reaffirm the academic viewpoint—the Yao ethnic group originates from the "inner circle"(the original Meishan mountainous area).更多还原