luody

CNKI 中国博士学位论文全文数据库

中国洞箫音乐文化研究

Chinese Dong Xiao Flute Music Culture: A Study

【作者】李晋源 【导师】袁静芳

【作者基本信息】中央音乐学院，，2002年，博士


【摘要 (中文/英文)】 本文在以往学者研究成果的基础上，借鉴与本课题有关的考古学、民俗学、律学、乐器学、声学之成果与研究方法，对中国洞箫音乐文化作比较全面、系统的考察研究和论述。全文包括五个部分。 第一章 论述洞箫类乐器在中国的历史与演变。在图像学的基础上，分析文献上、文物上出现的中国洞箫类乐器，进行探讨。本文认为汉代已经出现了各种吹口形式而定型化的洞箫类乐器。魏晋时期的洞箫，即是与现代洞箫一样的6孔洞箫类乐器。唐代与周边国家以及民族的交流，使中国洞箫获得了国际性。 第二章 论述中国洞箫类乐器音乐的物质构成。主要对乐器构成与形制、乐队组合形式，以及洞箫音乐的分布情况作了梳理。通过实地考察和文献研究，指出了洞箫类乐器在音乐文化中历史上不同的乐队组合形式与现代乐种中乐队组合形式之间一定联系，并收集整理了中国洞箫类乐器音乐的乐谱与音乐。 第三章 论述中国洞箫类乐器的主要音乐形态特征。对洞箫类乐器的宫调体系进行了历时性的全面疏理；对江南丝竹与福建南音中的洞箫音乐主要艺术特征进行了分析研究。本文认为“笛上三调”是文献中最早出现的洞箫类乐器的宫调理论。 第四章 论述中国洞箫类乐器的社会文化功能。运用文化人类学，民族音乐学等学科知识论述中国洞箫类乐器在历史发展中的应用形式与社会功能特点。本文涉及到祭祀音乐文化、文人音乐文化、宗教音乐文化，民俗音乐文化以及当代音乐文化中洞箫类乐器的使用情况与意义，阐述了洞箫类乐器在中国传统音乐文化中的重要地位。 第五章 论述中国洞箫类乐器的对外交流。运用比较音乐学的方法，研究并阐述了中国对韩国、日本洞箫音乐的影响。通过韩国北青狮子游艺中的狮子舞音乐与日本伎乐笛谱中的《狮子》比较；以及福建南音“谱”《梅花操》与韩国《步虚子》派生曲《两清还入》两个实例，探讨了中国、韩国、日本洞箫音乐上的交流。 本文的结语部分，对中国洞箫音乐文化的特征进行了归纳和小结，认为洞箫类乐器以及它的音乐是中国传统音乐文化的一个重要组成部分，它在社会发展过程中，吸取了丰富的民俗因素与其它传统音乐的优秀成分而丰富发展了自身的艺术个性；指出中国宫调体系(管律)在洞箫类乐器上的重要发展；以及中国与东亚国家的音乐文化交流中洞箫类乐器的作用。

Based on previous studies (particularly the findings and methods derived from archaeology, ethnology, the study of temperament, organology and acoustics), this dissertation endeavours to conduct a thorough and systematic investigation of the music culture surrounding the Chinese end-blown flute dongxiao. The present study is divided into five chapters. In the first chapter, the historical development of the dong xiao family of flutes in China is discussed. Relying on iconography, this section analyses the Chinese dong xiao flutes that appear in both literary and archaeological sources. The author argues that all types of end-blown flutes assumed a standardised morphology during the Han dynasty. By the time of the Wei Jin dynasties, five-holed dong xiao flutes of previous dynasties had developed into a six-holed type similar to today's dong xiao. As a result of the Tang dynasty's contacts with the surrounding countries and peoples, the Chinese dong xiao acquired an international character. The second chapter investigates the structure of the Chinese dong xiao flutes. The discussion deals with the morphological aspects of the instruments, but also strives to describe and understand systematically the organisation of the instrumental ensembles in which they appear, and the diffusion of music for dong xiao. Through fieldwork and an analysis of literary sources, this part of the study describes the various ensembles of which dong xiao flutes were part through history and compares them with their modem counterparts. Moreover, a collection and arrangement of musical scores and music for dong xiao flutes is offered. The third chapter discusses the formal constituents of music for dong xiao flutes. First, a thorough overview of the modal system of dong xiao flutes is carried out from a diachronic perspective. Then, this chapter continues with an analysis of the main artistic traits of dong xiao flute as they appear in the 'Silk and Bamboo' (Jiangnan sizhu) and 'Fujian nanyiri instrumental ensembles. The author argues that "the three modes on the di flute" (di shang son diao) is the earliest dongxiao modal system to appear in literary sources. The social and cultural background of dong xiao flutes constitutes the topic of the fourth chapter. Moving from the perspective of cultural anthropology and ethnomusicology, this part of the dissertation describes both the historical use and social function of the dong xiao flutes in different eras. The discussion touches upon the Buddhist, Daoist and Shaman religious milieu, the Confucian and scholarly circles, the calendric celebrations, folk weddings and funeral rituals, as well as entertainment and stage performances. This discussion of the significance and usage of dong xiao flutes in various social and cultural backgrounds underscores the importance of this type of instrument in Chinese culture. The fifth chapter outlines the influence of the Chinese dong xiao musical culture on the rest of the world. A comparative approach allows the author to investigate and identify the influence of Chinese forms on the music of the Korean and Japanese dong xiao. By drawing parallels between the Lion Dance Music performed by wandering "lion troupes" of Bukcheong in Korea and the music Lion found in the scores for di flute of Japanese Gigaku, and between Meihuacao (one pu instrumental suite from 'Fujian Nanyiri) and Yangchenghvtanyip (a piece derived from the Korean Boheoja), the author endeavours to discuss the exchanges in the music for dong xiao that occurred among China, Korea and Japan. In the final part the author summarises the peculiarities of dong xiao music culture. The dong xiao family of flutes and the music associated with them form an integral part of Chinese culture since, in the course of its evolution as a type of musical instrument, the dong xiao was influenced by a wide variety of Chinese musical traditions. In addition, the modal system of Chinese music (guanlu) has achieved an important development in the music for dongxiao. Finally, the dongxiao family of flu

【关键词 (中文/英文)】 洞箫; 洞箫类乐器; 笛上三调; 江南丝竹; 福建南音; 社会文化功能; 音乐文化交流 Dong xiao flutes; Dong xiao family of flutes; Jiangnan sizhu; Fujian nanyin; Chinese social culture; Music culture exchange

【发表年期】2003年01期 【网络出版投稿人】中央音乐学院 【DOI】CNKI:CDMD:1.2003.010099