【作者】 廖松清；

【导师】 萧梅；

【作者基本信息】 上海音乐学院 ， 音乐学， 2010， 博士

【副题名】以奉化、富阳地区祭祖、丧葬仪式中的吹打乐为例

【摘要】 吹打乐是我国以吹奏乐器和打击乐器为组合的民间器乐合奏形式,它自明清时期逐渐发展,如今已成为中国传统民间器乐中最为普遍的演奏形式之一。本文是对浙江奉化和富阳地区吹打乐的研究。与以往对该地区吹打乐的研究多关注音乐形态方面不同,笔者将该地区的吹打乐置于宗族仪式中的祭祖仪式和丧葬仪式中,在关注吹打乐是如何活用于民间的同时,结合宗族认同阐释其为何能够活用于民间的原因。同时,文章透过对浙江两个地区以村落为中心的宗族社会的吹打乐在不同仪式中用乐的个案研究,来探讨在历史的变迁中,局内人是如何构建不同仪式中的不同吹打乐类型,从而把握宗族认同是如何影响吹打乐的音乐建构,以此来观照他们是如何透过音乐活动塑造并维系宗族社会生活。本文的研究一方面指向“音乐如何作用于文化”,讨论吹打乐是如何运用于宗族仪式之中；一方面指向“文化如何塑造音乐”,讨论以村落为中心的宗族社会是如何影响吹打乐的传承和延续。对于前者的讨论,是对浙江地区吹打乐在历史变迁中所呈现的变化进行分析,把握局内人音乐建构的方式；而对后者的关注,则为宗族文化及其音乐传统的理解提供另外种视角和起点。本文由绪论、四章正文及结论组成。绪论论述了浙江地区吹打乐的研究现状、本论题的研究思路、理论框架以及研究方法等。第一章和第二章则分别是以奉化和富阳两地宗族仪式之祭祖仪式和丧葬仪式程序及吹打乐的用乐为对象,通过对不同仪式的文献文本、现场文本和口述文本的对比,对仪式及吹打乐在历史变迁中的变化进行梳理；同时,对两个地区的地理背景、信仰背景等社会文化背景进行简要的分析,为解释其在历史变迁中形成的“变”与“不变”提供一定的背景研究依据。因此,前两章是对吹打乐如何活用于民间进行的描写。第三章则是对奉化和富阳两地吹打乐的音乐建构进行分析,从音乐形态的角度对吹打乐以怎样的方式活用于民间进行论述。第四章是对前三章所描述的音乐文化现象进行解释,笔者认为：宗族社会用身份地位以及聪慧程度等标准来对应不同的吹打乐类型；同时,在宗族的名义下,通过各种标准来划分等级,从而形成各自小的群体,达到维系宗族认同的功能。然而,并非一成不变的宗族认同又影响着仪式及吹打乐的发展,从而在历史变迁中呈现出“变”与“不变”交互的传承。更多还原

【Abstract】 An ensemble of Chinese wind and percussion instruments, as a most prevalent performance type in Chinese traditional folk instrument music, has been developed since Ming Dynasty. It is an instrumental ensemble form, consisting of wind instrument and percussion.Our study aims to investigate the characteristics of An ensemble of Chinese wind and percussion instruments in Fenghua and Fuyang regions in Zhejiang Province, focusing on An ensemble of Chinese wind and percussion instruments in the clan rituals or ceremonies. The case analysis in those regions revealed how An ensemble of Chinese wind and percussion instruments has been changed in different rituals in different historical periods, and how the local people created and maintained their clan society through the music.The study discussed two points of view:how does music affect culture----the impact of An ensemble of Chinese wind and percussion instruments in the clan rituals, and how does culture built music----the impact of village-centered clan society on the inheritance and continuity of An ensemble of Chinese wind and percussion instruments. The first point of view revealed the changes of regional An ensemble of Chinese wind and percussion instruments styles with time, and the second point of view clarified the relationship between the ancestral culture and music tradition.The thesis consists of introduction, sections 1-4 and conclusion.In the introduction, the background of An ensemble of Chinese wind and percussion instruments study in Zhejiang Province was introduced, the research design and methods were described. Section 1 and 2 investigated the clan ceremonies and the appliance of An ensemble of Chinese wind and percussion instruments in the ceremonies in Fenghua and Fuyang respectively, then analyzed the historical changes of ceremonies and An ensemble of Chinese wind and percussion instruments by studying the literatures, live and oral texts, as well as the backgrounds of geography, faith, society and culture. Thus these 2 sections described how An ensemble of Chinese wind and percussion instruments has been practiced in those regions. Section 3 investigated the Music construction of An ensemble of Chinese wind and percussion instruments in the two areas. Section 4 explained the music culture phenomenon described above. It is concluded that different types of An ensemble of Chinese wind and percussion instruments are in accordance to different social status and intelligence in the clan society where subgroups of people are formed by different classes to maintain the clan, meanwhile, the variable clan identity affects the development of clan ceremonies and An ensemble of Chinese wind and percussion instruments.更多还原