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对长江流域的音乐进行分区研究,是一个较少有人涉及的课题。杨匡民先生在《长江中游文化区民歌结构》一文(载《音乐研究》1999第3期)中,提出了“长江三处文化区”说,即长江上游的巴蜀文化区、中游的荆楚文化区和下游的吴越文化区。笔者试图在此基础上再稍作展开,将长江流域自上而下分为青藏、滇黔、巴蜀、荆楚、吴越5个音乐文化区。同时还将研究对象从传统音乐扩展至20世纪以来的近现代音乐。以下的“巡礼”,是对各区内音乐文化的历史和现状的粗略描述。 关于“文化区”(cultuxtre region),系借鉴文化地理学中的概念,指具有“共同文化属性”的地理空间。而“音乐文化区”则指在音乐的体裁品种上,具有共同或相近的风格特征的区域。“长江音乐”,在这里有两层涵义:一是指产生于长江流域的音乐,其中包括土生土长的传统音乐和专业音乐家在长江流域创作的作品;二是指长江流域籍贯的音乐家所创作的音乐,或是非长江流域籍贯的音乐家创作的以长江为背景的音乐。
It is a less involved issue to study the music of the Yangtze River valley. In his article “Folk Song Structure of the Middle Yangtze River Cultural Region” (No. 3 of 1999), Mr. Yang Kuantang put forward the theory of “three cultural regions in the Yangtze River”, that is, the Bashu culture area in the upper reaches of the Yangtze River and the Jingchu culture area in the middle reaches And the downstream Wu Yue Cultural District. On the basis of this, the author attempts to start a little further and divide the Yangtze River valley into five musical cultural areas of Qinghai-Tibet, Yunnan-Guizhou, Bashu, Jingchu and Wu-Yue from top to bottom. At the same time, the research object is expanded from traditional music to modern music since the 20th century. The following “Tour” is a rough description of the history and current situation of music culture in various districts. About “cultuxtre region” refers to the concept of cultural geography, referring to the geographical space with “common cultural attributes”. The “Music Culture Zone” refers to the genre in the music genre, with common or similar style characteristics of the region. “Yangtze River Music” has two meanings here: one refers to the music produced in the Yangtze River valley, including native and traditional music and works by professional musicians in the Yangtze River Basin; second is the creation of musicians in the Yangtze River Valley Music or music based on the Yangtze River created by non-native-born musicians in the Yangtze.