【作者】 李敬民；

【导师】 王耀华； 蓝雪霏；

【作者基本信息】 福建师范大学 ， 音乐学， 2009， 博士

【摘要】 杠天神仪式是豫南皖西民间的主要祭神形式,至今仍有“大祭”、“家祭”、“野祭”和“公祭”在民间活动;祭祀过程包括请神、祈神、送神的纯仪式部分,和酬神仪式的杠天神戏表演部分。本文从文化人类学,宗教学以及民族音乐学的学科角度,探讨豫南皖西民间仪式音乐的用乐原则,探寻音乐在仪式过程中的功能和作用,揭示杠天神仪式音乐研究的民族音乐学价值。第一章围绕杠天神仪式的概念、功能、历史和现状展开叙述,认为,杠天神仪式是中原民间多神信仰的表现形式。它源于当地祭祀舞蹈“灯出子”,是神师职业化、家族化的重要表现。其中,杠天神戏是以仪式为载体,以代言为表达方式,以神话人物为描写对象,以现实的善恶报应为表演内容,以歌舞唱白为表演手段,以祈福攘灾为目的的仪式戏曲,具有信仰、祭祀、仪式和表演四大功能,目前仍活跃在豫南皖西民间的信仰体系中。第二章从豫南皖西民间神灵谱系的分类入手,认为,豫南皖西民间属于以家神、祖先神和人祖神为核心的俗神信仰范畴,是原始思维的一种遗留,在民间产生着极强的互渗作用;它不仅是一种权力建构下的神圣符号体系,而且还具有结构化、体系化的行为特征,也是杠天神仪式的用乐基础。第三章记录了豫南皖西四种类型的杠天神仪式过程;揭示了神师、乐师和事主之间的各种关系,重点描述了神师和乐师的用乐方法、用乐过程,认为,杠天神仪式的用乐是根据仪式的规模和时间确定仪式的用乐范围,是以俗神为核心的仪式展演。第四章从“近-远”、“时-空”和“行-意”探讨杠天神仪式的用乐原则,认为,在仪式过程中,音乐成品受日常使用的影响,有着一般和特殊的含意区分;作为仪式用乐它有“定”的特质,作为戏曲用乐又多具“活”的属性;它在使用自有音乐的同时,吸收了其他种类的音乐成品,形成仪式用乐的“定-活”范式。第五章在结构主义理论基础上,视仪式为一部完整的音乐成品。认为,仪式展演本身具有艺术创造的性质,它不仅符合音乐的整体结构、段结构和腔、调结构三个要素,而且还符合声音把握和控制的一般原则,因而构成了一套自有的音乐结构原则。第六章杠天神仪式音乐研究是在民族音乐学学科理论指导下进行的个案研究,它不尽通过研究音乐来关照仪式的行为过程,同时它还可以采用跨学科的研究方法探讨仪式音乐的独特性,探索民间信仰的仪式行为在社会生活中的潜在意义。总之,杠天神仪式音乐是豫南皖西民间信仰体系中的重要组成部分,它以俗神信仰为核心,以当地的音乐素材为主要音声,构建了一个独特的地方性信仰系统。更多还原

【Abstract】 GangTianShen is a main kind of sacrifice among the folk in Southern Henan and Anhui province. Up to now, there still populars Great Sacrifice, Family Sacrifice, Field Sacrifice and Public Sacrifice. From the angle of Cultural Anthropology, Religion and Enthomusicology, the text aims to explore the music-using principle of the folk ceremony music in Southern Henan and Western Anhui province, to seek the function and role what music plays in the ceremony order, and eventually to reveal the Enthomusicological value of the music research on the GangTianShen Ceremony.ChapterⅠrevolves around the conception,function,history and present condition to start to narrate. It is considered that GangTianShen Ceremony is a menifestation of multi-God belief in Central China. It derived from a local sacrifice dance named "DengChuZi" which is important to display the professionalization and familization of the Wizards. GangTianShen Opera is a kind of ceremony opera, with ceremony as its form, substituted speech as its way of expression, divine figures as its depicting objects, wordly issues of good and evil as its contents, singing,dancing and rapping as its performance methods, preying as its goal. It has 4 functions, namely, belief, sacrifice,ceremony and performance, thus it is still active in the folk belief system in Southern Henan and Western Anhui province.ChapterⅡbegins with the classification of the Divine Pedigree in folk Southern Henan and Western Anhui province. It is considered that the belief among the people in Southern Henan and Western Anhui province, which centers around Family Divinity, Ancestors Divinity and Fuxi, belongs to the category of Secular Divinity Belief. It is a kind of original thought remains, and has strong osmosis in the folk. It is not only a holy semiotic system under the power construction, but has the behavior features of structualization and systematization, and it is also the basis of music-using in GangTianShen Ceremony.ChapterⅢrecords the processes of 4 different types of GangTianShen Ceremony, which reveals all kinds of relationships between Wizard, Musician and Master, and emphatically describes the way and process of music-using by Wizard and Musician. It is widely accepted that according to the scale and time the music-using scope is variously made. The ceremony is a performance centering around the Secular Divinity.ChapterⅣexplores the music-using principle of GangTianShen from "Near-Far", "Time -Space" and "Behavior -Spirit". It is considered that, during the process of the ceremony, the finished music has a distinction between the general and the special on account of daily use. As a kind of ceremony music it has the character of "stability", while as a kind of traditional opera music it has the character of "flexibility". It absorbs other kind of music while uses its own, then forms the "stability-flexibility" style of ceremony music.ChapterⅤtakes the ceremony as an entire music product on the basis of Structualism theory. It is considered that the ceremony performance itself has art creative quality. It not only conforms to the music’s three essential factors including entire structure, segment structure accent structure, but also conforms to the general rules of mastering and controlling sound. Therefore a set of musical structure principle with self-character is made.ChapterⅥ, GangTianShen Ceremony music research is a case study under the guide of Enthomusicological theory. It is a behavior process which adapts the method of transdisciplinary to explore the uniqueness of the ceremony music, and to search the potential significance of the behaviors at folk belief ceremony in social life.In a word, GangTianShen Ceremony music is an important component of the folk belief system in Southern Henan and Western Anhui province. Centering around the Secular Divinity Belief and taking the local music material as the main tune, it sets up a unique local belief system.更多还原