从布努瑶“开悼”仪式看仪式音乐功能的三个层次  

Looking into the ternary lay of ritual musical function by studying Bunu Yao nationality's "condoling" ceremony

作　　者：谭智[1] 

机构地区：[1]广西艺术学院民族艺术研究所,广西南宁530022

出　　处：《艺术探索》2009年第3期37-40,共4页Arts Exploration

基　　金："广西研究生教育创新计划资助项目"--<布努瑶民间音乐研究>(项目编号为:2008106070504M01)的阶段性成果

摘　　要：本文以布努瑶"开悼"仪式音乐为例,结合仪式音乐属性的一般性与特殊性的考察,借用音乐社会学的分析方法,把仪式音乐功能分为非倾向性功能、审美功能、倾向性功能三个层次。其中非倾向性功能和审美功能为仪式音乐的一般性功能特征,位于仪式音乐的显性功能层次;倾向性功能为仪式音乐的特殊性功能特征,位于仪式音乐的隐性功能层次。实现仪式音乐倾向性功能的深层功能因素是以信仰体系为核心的情感内容和以唱词为主的非音乐因素,而这些功能因素在与"文化局外人和文化局内人"这两种不同的主体发生作用后,将会产生不同的效应。This article take the music of Bunu Yao nationality's 'condoling' ceremony as an example,by combining the study of ritual musical attributes that consisting the universality and the particularity, using the analyse of the sociology of music to classify:the ritual musical function is divided into non-orientation function, aesthetic function and orientation function. In these, non-orientation function and aesthetic function are the function of universality which locate in the obvious lay; orientation function is the function of particularity which locate in the recessive lay.The deep factors of function which the orientation function of ritual music to be achieved are that:the emotional content which base on the belief system and the non-musical factors which the lyric is primary regarded. When the factors of function taking effect with 'cultural outsiders' or 'cultural insider',there will produce different effects.

关 键 词：“开悼”仪式音乐 非倾向性功能 审美功能 倾向性功能 信仰体系 非音乐因素 

分 类 号：J607[艺术—音乐]