摘要
岷江上游热务沟藏族多声部民歌分为"敬、唱、跳、念"四类,溯源性音乐术语凸显出热务沟藏人的有序传习与寻"根"意识,其唱法主要分为"策过鲁"与"涅些过鲁"两种.较为固定的歌师家族和"鲁达、鲁莎"的年龄组织是多声部民歌传承至今的重要保障.岷江上游热务沟藏族多声部民歌具有驱邪祈福功能的歌声与唱词反映了藏人神圣的多声歌唱观念,歌师运用所学知识创造出文字谱,折射出热务沟藏族多声部民歌传承从口头传承转向口头与书写传承并驾的传承模式.
Abstract
The Tibetan polyphonic folk songs of Rewugou,situated in the upper reaches of the Minjiang River,are distinguishable into four distinct categories:ceremonial,lyrical,dance,and narrative.These classifications,alongside specific musical terminologies,reflect the structured heritage and profound root-seeking consciousness of the Tibetan community in this region.The singing techniques employed by the Tibetans of Rewugou predominantly consist of"nie(e)ie kwo nu"(a forceful,gradual ascent)and"tsə kwo nu"(a gentle,gradual ascent).A stable lineage of singing families,coupled with the generational association known as"Luta and luşa,"form the backbone of the folk songs'enduring legacy.The thematic content of these polyphonic songs,centered on warding off evil and invoking blessings,embodies the sacrosanct nature of Tibetan vocal traditions.Moreover,the transition from purely oral transmission to a blend of oral and notated practices signifies an evolving paradigm in the safeguarding of Tibetan polyphonic folk music.
基金项目
2019年度国家社会科学基金艺术学项目(19ED201)
2020年度国家社科基金冷门绝学研究专项(20VJXG023)
2021-2023年度四川省高等教育人才培养质量和教学改革重点项目(JG2021-1182)
NETL
NSTL
维普
万方数据