民族文化交融视域下论秦腔  

A Study of Qinqiang Opera from the Perspective of Ethnic Cultural Integration

作　　者：杜倩萍[1] DU Qian-ping(Institute of Ethnology＆Anthropology , CASS, Beijing 100081, China)

机构地区：[1]中国社会科学院民族学与人类学研究所,北京100081

出　　处：《贵州民族研究》2018年第3期90-94,共5页Guizhou Ethnic Studies

基　　金：中国社会科学院民族学与人类学研究所创新工程项目"多民族国家的社会治理"(项目编号:2016MZSCX007)

摘　　要：秦腔是中国西北最古老剧种之一,流行于陕西、甘肃、新疆、青海、宁夏等地。秦腔发源及流行地域,大多是民族杂居区,因此,在其形成和发展过程中,受周边诸族文化影响较大。所伴奏的乐器二胡、板胡、琵琶、扬琴、唢呐、铙钹等,最早都是从民族地区或周边国家传入,其声调唱腔与北方游牧民族"马上之声"也有所交融。并从百戏中汲取营养,丰富表演特技。从某种意义上讲,秦腔是以汉族文化为主体,并与其他民族文化交融之产物。也可以说,为古代丝绸之路上诸族音乐文化交流的结晶。Qinqiang Opera is one of the oldest operas in northwest China,popular in Shanxi,Gansu,Xinjiang,Qinghai,and Ningxia.It usually originated and thrives in areas where many ethnic groups gather.Therefore,Qinqiang Opera is greatly shaped by the culture of these ethnic groups in its formation and development process.Accompanied by erhu,banhu,pipa,dulcimer,suona,cymbal,and other instruments first introduced from ethnic regions or neighboring countries,it boasts tunes blended with ＂on-horse sounds＂of northern nomads,and has absorbed essence from acrobatics to enrich its performing techniques.In a sense,Qinqiang Opera is a product of the Han culture fusing with other ethnic cultures.It can also be regarded as the fruit of musical and cultural exchanges between the ethnic groups in the ancient Silk Road.

关 键 词：秦腔 民族 音乐 文化 交融 

分 类 号：G112[文化科学]