山西泽州四弦书传承历史与说唱特征绎解
发布时间：2018-12-13 06:44
【摘要】：本文通过考古、文献、口述采访等研究方法,试图对山西省晋城泽州四弦书传承历史和说唱特色进行规律性探索。本文主要分为引言、主体和结语三部分。引言主要就研究四弦书的目的、意义、学术动态、研究方法做了简单的陈述;主体部分分为三章:第一章,泽州四弦书形成年代考,通过对四弦书的形成环境、三种说法进行解析,又通过对四弦乐器的历史考察和传入晋南、晋东南四弦乐器时间进行统计,最终形成笔者自己的结论;第二章,泽州四弦书传承历史,通过对六代传承人的谱系分析,传承人在不同时期的境遇和表现,大致勾勒出泽州四弦书自程天和开始的历史发展;第三章,泽州四弦书传统说唱形式与内容,通过对传统说唱程序、曲目、板腔结构、曲牌和伴奏乐器等方面的分析,试图全方位揭示泽州四弦书传统说唱本体的一般特征,并另加一节“说唱神书的基本程式”,用四弦书以前谋生的最主要形式,来反映整体说唱的基本视点。最后“结语”部分,大致梳理了四弦书进入建国后传承的起起落落,其成败得失引发笔者对四弦书的现状和未来进行思考。四弦书山西曲艺文化中的活化石,是盲艺人的铁饭碗,是弱势群体赖以生计的美的艺术!在我们“看”不见他们、他们也看不见我们的各自世界里,四弦书却给明眼人和盲眼人搭上了一座桥梁,让我们看见了他们为人类留下的宝贵财富。这些财富因在民间盲区,我们“看”不见,它已经慢慢衰落、频临失传。笔者看来,失传的不仅仅是一些曲目,而是失去了我们中国传统音乐文化的符号,失去了过去与现在的纽带,失去了传统与现代的交融。在现当代艺术疯狂发展的现在,是否有艺术家们还真正的惦记着传统艺术?中国艺术在传统中诞生,也在发展中不断改变传统的面貌,崇洋媚外,被破坏,被扭曲。笔者认为,不论社会怎样发展,中国怎样强大,传统艺术永远不可丢,丢失了传统,就是就丢失了中华民族的文化之根。
[Abstract]:By means of archaeology, literature, oral interview and other research methods, this paper attempts to explore the regularity of inheriting history and rap characteristics of the four string books in Jincheng Zizhou, Shanxi Province. This paper is divided into three parts: introduction, subject and conclusion. The introduction mainly makes a brief statement on the purpose, significance, academic trends and research methods of the four string books. The main part is divided into three chapters: the first chapter, the formation of the four string books in Zezhou, through the formation of the four strings of the environment, three kinds of statements to analyze, and through the historical investigation of the four stringed instruments and the introduction of southern Shanxi, The time of the four stringed instruments in Southeast Shanxi was counted and finally the author's own conclusion was formed. The second chapter, through the inheritance of the history of the four string books of Zezhou, through the pedigree analysis of the six generations of inheritors, the inheritance of the people in different periods and performance, roughly outline the history of Zezhou four strings since Cheng Tianhe began to develop; The third chapter, the traditional rap form and content of the four string books in Zezhou, through the analysis of the traditional rap procedure, track, board cavity structure, qu card and accompaniment instrument, try to reveal the general characteristics of the traditional rap ontology of the four string books in Zezhou, from the aspects of the traditional rap procedure, the repertoire, the structure of the board cavity, the qu card and the accompaniment instrument, etc. An additional section, "the basic Rap of God's Book", reflects the basic viewpoint of the whole rap with the most important form of making a living before the Four-string Book. Finally, the "conclusion" part, roughly combed the rise and fall of the four string books after the founding of the people's Republic of China, its success or failure caused the author to think about the present situation and the future of the four string books. Four string book Shanxi quyi art culture in the living fossils, is blind artist iron rice bowl, is a vulnerable group on the livelihood of the United States art! In our "see" not to see them, they can not see our respective world, the four-string book to open eyes and blind people to build a bridge, let us see their precious wealth left for mankind. These wealth because in the folk blind area, we "see" not, it has gradually declined, the frequency is about to lose. In the author's opinion, what has been lost is not only some tracks, but also the symbols of our Chinese traditional music culture, the link between the past and the present, and the blend of tradition and modernity. In the current crazy development of modern and contemporary art, is there any artist still really thinking about traditional art? Chinese art was born in tradition, but also in the development of constantly changing the face of traditional, worshipping foreign countries, being destroyed, distorted. The author thinks that no matter how the society develops and how strong China is, the traditional art can never be lost. If we lose the tradition, we will lose the root of the Chinese nation's culture.
【学位授予单位】：山西师范大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J826;J617.9
本文编号：2376095
[Abstract]:By means of archaeology, literature, oral interview and other research methods, this paper attempts to explore the regularity of inheriting history and rap characteristics of the four string books in Jincheng Zizhou, Shanxi Province. This paper is divided into three parts: introduction, subject and conclusion. The introduction mainly makes a brief statement on the purpose, significance, academic trends and research methods of the four string books. The main part is divided into three chapters: the first chapter, the formation of the four string books in Zezhou, through the formation of the four strings of the environment, three kinds of statements to analyze, and through the historical investigation of the four stringed instruments and the introduction of southern Shanxi, The time of the four stringed instruments in Southeast Shanxi was counted and finally the author's own conclusion was formed. The second chapter, through the inheritance of the history of the four string books of Zezhou, through the pedigree analysis of the six generations of inheritors, the inheritance of the people in different periods and performance, roughly outline the history of Zezhou four strings since Cheng Tianhe began to develop; The third chapter, the traditional rap form and content of the four string books in Zezhou, through the analysis of the traditional rap procedure, track, board cavity structure, qu card and accompaniment instrument, try to reveal the general characteristics of the traditional rap ontology of the four string books in Zezhou, from the aspects of the traditional rap procedure, the repertoire, the structure of the board cavity, the qu card and the accompaniment instrument, etc. An additional section, "the basic Rap of God's Book", reflects the basic viewpoint of the whole rap with the most important form of making a living before the Four-string Book. Finally, the "conclusion" part, roughly combed the rise and fall of the four string books after the founding of the people's Republic of China, its success or failure caused the author to think about the present situation and the future of the four string books. Four string book Shanxi quyi art culture in the living fossils, is blind artist iron rice bowl, is a vulnerable group on the livelihood of the United States art! In our "see" not to see them, they can not see our respective world, the four-string book to open eyes and blind people to build a bridge, let us see their precious wealth left for mankind. These wealth because in the folk blind area, we "see" not, it has gradually declined, the frequency is about to lose. In the author's opinion, what has been lost is not only some tracks, but also the symbols of our Chinese traditional music culture, the link between the past and the present, and the blend of tradition and modernity. In the current crazy development of modern and contemporary art, is there any artist still really thinking about traditional art? Chinese art was born in tradition, but also in the development of constantly changing the face of traditional, worshipping foreign countries, being destroyed, distorted. The author thinks that no matter how the society develops and how strong China is, the traditional art can never be lost. If we lose the tradition, we will lose the root of the Chinese nation's culture.
【学位授予单位】：山西师范大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J826;J617.9
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