土家族梯玛巫祀仪式歌曲的风格特征——兼与土家族其他民歌相比较  

The Style Features of Ritual Songs in Ti-ma Sorcery Cult at Tu-jia Minority

作　　者：刘嵘[1] 

机构地区：[1]北京大学社会学系

出　　处：《黄钟（武汉音乐学院学报）》2009年第4期76-85,共10页Huangzhong:Journal of Wuhan Conservatory of Music

基　　金：教育部人文社会科学重点研究基地2003年度重大研究项目<中国少数民族宗教音乐研究>(03JAZJD76005)

摘　　要：梯玛巫祀仪式是土家族传统信仰文化的体现,在湘西北仍有遗存,其音声具有很强的原生性和民族性特征。梯玛巫祀仪式音乐包含宗教性和世俗性两大类,以宗教性音乐为核心,其中最有特点的是声乐,即梯玛歌。梯玛歌是在一个简单的创腔模式上衍生出来的,由一个核心音出发,经历了核心音——核心音程——核腔的运动过程。梯玛歌的音乐形态由唱词的韵律决定,且与土家族民歌相互影响。The ritual in ti-ma sorcery cult, which survivals in the northwest of Hunan, embodies the traditional belief culture in Tu-jia minority. The music of ritual in ti-ma sorcery divided into two kinds of religionary and secular, both of their sound with stronger primordial features and national traits, but the reliqion one was core, especial the vocal part, called ti-ma songs. From kernel note through kernel interval to main tune, the ti-ma songs based on a simple mode, and its music configuration was depended by its lyrics rhythm, and influenced each other with Tu-jia minority folk songs.

关 键 词：土家族 梯玛歌 核腔 仪式音乐 

分 类 号：J613.2[艺术—音乐]