【作者】 宋明洁；

【导师】 王生耀；

【作者基本信息】 新疆师范大学 ， 音乐学， 2010， 硕士

【摘要】 达斡尔族是我国具有悠久历史的北方民族之一,因诸多原因于乾隆二十八年(1763年)西迁新疆,从而形成了达斡尔族以黑龙江、内蒙古、新疆为主要聚居地的“大杂居、小聚居”的分布状况。新疆达斡尔族作为一个西迁的民族,他们远离本民族原聚居地,甚至在近二百年的时间里很少与原居住地的本民族主体发生联系而独立发展。在新疆这样一个多民族及多元文化的环境中,达斡尔族音乐文化的变迁显现出鲜明的地域性。文章将前人对达斡尔族传统音乐的研究成果和笔者对新疆达斡尔族音乐现状的田野考察收获作为论述的主要理论依据。根据达斡尔族自身历史的发展特点,笔者将新疆达斡尔族传统音乐文化的历史变迁概括为三个主要阶段:西迁前渔猎、狩猎时期、西迁后的农猎转型时期和当代农业时期。运用民族音乐学、文化人类学等学科比较研究的方法论,对新疆达斡尔族传统音乐文化的发展作了历时性和共时性的双重比较研究,并且得出在新疆达斡尔族传统音乐发展变化的特性中,具有与各个民族、各类传统音乐发展的共通之处。自西迁后两百年间,新疆达斡尔族的生产、生活方式被改变,而在这随之而来的变化中也包括了达斡尔族传统文化的快速流失,新疆达斡尔族音乐文化作为其中必不可少的一部分,也在不断地发生适应性的调整和变化。鉴于新疆达斡尔族音乐生活的发展现状,笔者提出对新疆达斡尔族传统音乐文化保护与发展的建议。更多还原

【Abstract】 Daur is one of the nations that have a long history in the north of China. It moved westward to Xinjiang in Qianlong twenty eight years (1763) because of many reasons, which formed Daur, Heilongjiang, Inner Mongolia, and Xinjiang as the main habitable distribution of the“big mixed, small settlements”.In Xinjiang, due to the environment of a multi-ethnic and multi-cultural, the changes in Daur musical culture reveals distinct regions.The essay aims at adopting the research results that the forefathers possessed with Daur traditional music and the author’s rewarding field investigation for Daur musical present situations in Xinjiang as the main theoretical basis. According to the development characteristics of Daur in their own history, the author summarizes Daur history changes on traditional musical culture in Xinjiang in three main stages: pre-westward fishing, hunting, farming moved west hunting during the transition period and contemporary agriculture. The methodology about ethnomusicology and cultural anthropology can be utilized to compare its diachronic with general study. Based on the above analysis, we can come to the conclusion that it has various types of nations and development of traditional music in common during the change features in Daur traditional music in Xinjiang. After two hundred years since the Westward Movement, Daur production life was changed in Xinjiang, including the fleeting loss of Daur traditional culture. As an essential part of these, the adjustments and changes on Daur musical culture in Xinjiang can be made to accommodate the times. Given the circumstances, the author puts forward the proposals for protecting and developing Daur traditional music culture in Xinjiang.更多还原