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徐州琴书作为独立的地方曲种,在明末清初小曲基础上逐渐形成,在苏鲁豫皖一带民间产生较大的影响,2008年1月,徐州琴书被认定为国家级非物质文化遗产。邳州地区是徐州琴书民间艺人集中之地,笔者在2009年7月至2010年6月间通过对邳州地区王作迎、惠忠刚、王秀梅、丁相宇、韩召彦、李全迎、高伟、王昌银等民间艺人进行访谈式与参与式的田野调查,取得了他们的部分演出与访谈资料。通过对上述资料的梳理与整合,笔者观察到邳州地区徐州琴书民间艺人在唱腔曲牌、演出场所、演唱书目方面有许多相同点,但不同之处在于他们为了应对琴书目益衰败的局面,而各自根据自己的特长,对徐州琴书进行了不同的诠释。通过邳州地区徐州琴书民间艺人田野调查资料的梳理与整合,对全面研究徐州琴书有着一定参考价值。
As an independent local music genre, Xuzhou Qin Shu gradually formed on the basis of the songs of the late Ming and early Qing dynasties and has a great influence on the people in the areas of Sulu, Yu and Wan provinces. In January 2008, the Qinzhou Qin Shu was recognized as a state-level intangible cultural heritage. Zhuozhou area is the focus of Xuzhou Qin folk artists, the author in July 2009 to June 2010 through the Zhuozhou area Wang Zuoying, Huizhong Gang, Wang Xiumei, Ding Xiangyu, Han Zhaoyan, Li Quanying, Gao Wei, Wang Changyin and other folk artists to interview Type and participatory fieldwork, obtained some of their performances and interviews. Through the combing and integration of the above information, I observed that there are many similarities between Xuzhou Qin folk music artists in the Pizhou district in terms of singing, performing places and singing bosses, but the difference is that in order to cope with the declining status of the Qin dynasty, According to their own expertise, Xuzhou Qin book carried a different interpretation. Through the combing and integration of field investigation data of folk artistes of Xuzhou Qin Book in Danzhou, it is of certain reference value for the comprehensive study of Qinzhou Qin Books.