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本文从乾隆诗中的“长啸”意象出发,结合广泛的田野调查和丰富的历史文献,分别对传统的“啸即口哨”论和处于假说状态的“啸即浩林·潮尔”论进行了深入的研究,重点从七个方面证明了后一假说的正确性,具体包括:(一)从《啸赋》的“互文性”建构看长啸与浩林·潮尔(Holin-chor)的同一性;(二)长啸与浩林·潮尔在音乐形态上的同一性;(三)长啸与浩林·潮尔在发声方法上的同一性;(四)长啸与浩林·潮尔在宗教功能上的同一性;(五)从命名上证明“啸即浩林·潮尔”;(六)与浩林·潮尔在配器上的同一性;(七)从啸者与闻啸者的民族属性证明“啸即浩林·潮尔”。文章强调,口哨与浩林·潮尔都属于啸史的有机组成部分,但前者一直处于民间的状态,是非主流的,而后者则由草原游牧民族传入中原,渗透于魏晋士林的高知识阶层,实现了由“原生态”向“次生态”的革命性转化,实现了对儒释道的多元文化的兼容,并升华为中国古典文学特有的音乐意象。
This article starts from the image of “Longzhao ” in Qianlong ’s poems, and combines the extensive field investigation and rich historical documents to analyze the traditional “whistling / whistling ” and the hypothetical Chaer “theory has conducted in-depth research, focusing on seven aspects from the correctness of the latter hypothesis, including: (a) from the The identity of the Holin-chor; (b) the identity of the form of music between Shouts and Haolin • Chao; (c) the identity of the methods of shouting and Haolin • Chao sounding ; (Four) shouts and Hao Lin Chao Seoul in the religious function of the same sex; (five) from the name to prove ”Xiao Hao Hao Lin Chao Seoul “; (six) and Hao Lin Chao in the adapter On the identity of; (seven) from the national properties of Xiao and Wen Xiao who prove ”Xiao Hao Haolin Chao Seoul.“ The article emphasizes that the whistle and Hao Lin Chaolu belong to the organic part of Xiao Shi history, but the former has been in a state of non-government, non-mainstream, while the latter came from the prairie nomads to the Central Plains, infiltrated the high knowledge of Wei and Jin Shihlin Class, realizing the revolutionary transformation from ”original ecology “ to ”secondary ecology ", realized the compatibility of Confucianism, Buddhism and Taoism, and sublimated into the unique musical image of Chinese classical literature.