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在布朗族传统的社会民俗中,诞生、成年、婚、葬四大人生仪礼习俗,标志着每一个社会成员成长过程的四个重要阶段。一般认为,人生仪礼同“过关仪礼”有密切关系。在过关仪式的分离(脱离)阶段和聚合(进入)阶段之间,存在一个过渡(阈限)时期。以往,人们对于同属于民间音乐范畴的四大人生仪礼音乐及其他民歌(儿歌、情歌、风俗歌等)、歌舞音乐、器乐曲等,往往是放在一种音乐学形态学或音乐体裁的框架内,分开来进行描述和分析的。然而,通过对人生仪礼及其阈限阶段特征的考察,可以发现上述各种民间音乐类型,其实完全可以纳入这个人类学—民俗学的人生发展周期及结构框架内来做整体性描述和分析。通过对人生仪礼与阈限阶段这“一维两阈”环链中存在的模糊性、混融性以及阶段性、渐进性等结构要素进行分析,可以发现布朗族传统音乐不同于其他少数民族及汉族音乐的诸多艺术与文化个性特征。
In the traditional ethnic customs of the Braun people, the birth, adulthood, marriage, and funeral rituals symbolize the four important stages in the growth process of each member of society. Generally believed that life ceremonies with “cross the ritual ceremony ” is closely related. There is a period of transition (threshold) between the separation (disengagement) phase and the aggregation (entry) phase of the clearance ceremonies. In the past, people often used musical compositions and musical genres in four major ceremonial ritual music and other folk songs (songs, love songs, customs songs, etc.), song and dance music, and instrumental music, all belonging to the category of folk music Within the framework, separate description and analysis. However, by examining the rituals of life and the characteristics of their threshold stages, we can find that all kinds of folk music mentioned above can be completely described and analyzed within the life cycle and structure of anthropology-folklore . By analyzing the fuzziness, blending and stepwiseness, gradualness and other structural elements existing in the “one dimension and two thresholds” chain of life ritual and threshold stage, it can be found that the traditional music of the Braun is different from the other Many Artistic and Cultural Personality Features of Minority and Han Music.