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苗族鼓藏节遗传于贵州东南部和广西交界的榕江、从江、三都县境内的月亮山地区的苗、瑶、水、侗等少数民族聚居区和雷山县西江等苗族居住区。虽然各地区的鼓藏节表现出文化上的差异而带来了其仪式音乐的地域性,但这些仪式音乐文化已成了祭祀祖先的鼓藏节议程中不可缺少的一个部分。榕江记怀寨鼓藏节的仪式音乐主要由宣告节日开始的铜鼓的节奏声响、祭司吟诵的“祭祀歌”和穿百鸟衣的仪仗队吹奏的芦笙调“给略”等构成,其音乐文化反映了记怀寨苗族人民的传统民间礼仪文化习俗。分析与归纳苗族鼓藏节仪式音乐的节奏、旋律及其结构特征,有利于苗族节日中民间仪式音乐的挖掘、整理、保护与开发研究。
The Miao Tibetan Drum Festival is inherited from the areas inhabited by ethnic minorities such as Miao, Yao, Shui, Dong and other ethnic groups in Rongjiang, Congjiang and Sandu counties in the Moon Hill area at the junction of southeastern Guizhou and Guangxi and the Xijiang and Miao communities in Leishan County. Although the Tibetan festival in each region showed cultural differences and brought the regionality of its ritual music, these ritual musical cultures have become an indispensable part of the agenda of the festival of sacrificial ancestors’ worship. The ritual music of Rongjiang Recorded in the drum section of Huzhai Village is mainly composed of the rhythm sound of the drums beginning with the announcement of the festival, the sacrificial song sung by the priest, and Lusheng tune played by honor guard wearing a hundred-bird clothes. The music culture reflects the traditional folk etiquette and cultural customs of Hualien Miao people. Analyzing and summarizing the rhythm, melody and structural features of Miao Tibetan drum festival ritual music is beneficial to the excavation, collation, protection and development of folk ritual music in Miao festival.