【作者】 王建朝；

【导师】 周吉； 张欢；

【作者基本信息】 新疆师范大学 ， 音乐学， 2009， 硕士

【摘要】 《十二木卡姆》是维吾尔木卡姆的主要代表和主体,除喀什、阿克苏、伊犁等地区之外,在和田地区也曾经广为流传。和田《十二木卡姆》与其它地区流传的各种版本同为集歌、舞、乐于一体的大型古典套曲,在乐律乐调、节拍节奏等音乐形态特点的各个方面有着一定的相同或相近之处,但在篇幅、结构、沿用乐器等方面又具有自身的特点。由于历史与地域之原因,现仅在墨玉县的芒来乡、奎牙乡、托乎拉乡、墨玉镇,和田市的伊里奇乡,皮山县的克里阳乡等地尚有《十二木卡姆》流传,除此之外的其余各县,如于田县、策勒县和洛浦县的城乡各地,随着老艺人的先后谢世,《十二木卡姆》后继乏人,至今已濒临灭绝。本文即是在田野调查与文献分析的基础上,综合运用多学科的理论与方法,对和田《十二木卡姆》的生存背景及其传承人、传承渠道、传承特点、传承原因、音乐形态等传承状况进行的初步研究。全文除了绪论和结语之外,正文分为七个部分,其内容如下:绪论部分提出本文的研究缘起、对象、方法、视角及意义。第二部分对和田《十二木卡姆》表象背后的地理位置、生态环境、民族、宗教、民俗、语言文字、周边及外源文化的影响等概况进行了考察,试图揭示和田《十二木卡姆》与生存背景之间的互动关系。第三部分从结构与体裁、节拍节奏模式、伴奏乐器、乐队组合等方面对和田《十二木卡姆》的音乐状况进行简要的论述。第四部分对和田《十二木卡姆》的传承人、传承谱系以及传承人学习木卡姆之动因、音乐审美观、价值和地位等情况进行了深入浅出的阐述。第五部分将和田《十二木卡姆》的三大传承渠道以及家族流变史、家族成员情况、传承手段等问题进行颇有见地的论述。第六部分对和田《十二木卡姆》的即兴性、直接性、民众性、濡化、变异性等五大传承特点进行了研讨。第七部分从和田《十二木卡姆》的供养源、文化生存空间、文化功能三方面对其传承的原因进行深入的揭示。第八部分依据和田《十二木卡姆》的各组成要素的状况而引发的文化人类学思考,指出和田《十二木卡姆》是一个充满象征与隐喻的符号体系,是一个文化变迁的活体。此外,依据其当代处境,提出了相应的保护措施。更多还原

【Abstract】 Twelve Muqam is the main representative and body of Uyghur Muqam, which has also been widely spread in Hotan with the exception of Kashi, Aksu, Yili and other regions. Like various versions of Muqam spread in other region, Hotan Twelve Muqam is a grand classical divertimento with songs, dance and music integrated, it has a certain amount of the same or similar aspects in the music tune, the beat rhythm and the characteristics of music form. However, it remains its own characteristics in length, structure, musical instruments and so on. Due to historical and regional reasons, Twelve Muqam only spread in MangLai town,KuiYa town,TuoHula town, MoYu town of MoYu County, YiLiqi town of HeTian City, KeLiyang town of PiShan County and other places. Unfortunately, Twelve Muqam has been on the verge of extinction as a result of the death of many old folk artists in the urban and rural areas, such as Yutian County,CeLe County and LuoPu County. Based on the field investigation and document analysis and the integrated use of multi-disciplinary theories and methods, this article is the preliminary study on the survival background and inheritance channels, inheritance characteristics, inheritance reasons, music forms, as well as the inheritance situation of Hotan Twelve Muqam.In addition to the full text of the Introduction and Conclusion, the body is divided into seven parts, which reads as follows:Introduction put forward the research origin, objects, methods, perspectives and significance.The second part studies the geographic location, the ecological environment, ethnicity, religion, folklore, language and the impact of exogenous culture surrounding behind the appearance of Hetian "Muqam 12", trying to reveal the interactive relationship between Hotan Twelve Muqam and the survival background.The third part discusses the musical state of Hotan Twelve Muqam briefly in terms of the structure and style, the beat rhythm patterns, musical accompaniment, the band portfolio as well as other aspects.Part IV illustrates the transmissioner, the lineage of inheritance, and the motivation of transmissioner, value of musical aesthetics, value and status of Hotan Twelve Muqam.Part V discusses the three inheritance channels, changes in family history, family members, as well as inheritance means of Hotan Twelve Muqam with a keen insight.Part VI analysizes its five main inheritance characteristics such as the improvisation, direction, moisten as well as ariability of Hotan Twelve Muqam.Part VII reveals the inheritance reasons in terms of the source of support, cultural living space and cultural function deeply.In accordance with the reflection of cultural anthropology caused by the situation of constituent elements, Part VIII thinks that Hotan Twelve Muqam is a symbol system full of symbolization and metaphor and cultural change vivo. In addition, in accordance with its contemporary situation, the corresponding protective measures should be carried out.更多还原