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本文是《苏雅人为什么歌唱——关于亚玛逊族群的音乐之人类学研究》~①一书的第二章。全书共有七章,其他章节为“第一章老鼠仪式的开始”、“第三章歌曲的缘起”、“第四章作为创造性活动的歌唱”、“第五章从实验室到田野:雨季歌曲中音调升高的神话”、“第六章跳跃、舞蹈和老鼠歌曲的演唱”、“第七章苏雅人为什么歌唱”。讲话、训导、歌谣、咒语是苏雅人口头艺术中四个较为主要的类型,在本章中,作者借鉴结构主义符号学的研究模式,分别从这四种口头艺术各自的分类原则、形态特征、表演场合、表演者身份以及对苏雅族群的作用与意义几个方面进行了论述,此外,亦在学科的角度对以往研究中将音乐与语言彼此分离的做法进行反思。
This article is the second chapter of “Why the Soth People Sing - An Anthropological Study of the Music of the Amazon”. The book consists of seven chapters, the other chapters for the “first chapter ritual of the mouse ”, “chapter third origin of the song ”, “fourth chapter as a song of creative activities”, Lab to Field: The Mythology of Tone Rise in the Rainy Songs “,” Chapter VI Jumping, Singing of Dances and Mouse Songs “,” Chapter VII Why Do Singh Singh. " Speech, discipline, ballads and incantations are the four main types of Suya’s oral art. In this chapter, the author draws on the research model of structuralistic semiology and analyzes the classification principles, morphological features, performances of the four oral art respectively Occasions, performers’ identities and the role and significance of the Suya community. In addition, they also reflect on the practice of separating music and language from each other in the past in the academic perspective.