云南佤族仪式音乐和谐共生模式研究  

Study on the Harmonious Symbiosis Model of Wa Ritual Music in Yunnan

作　　者：宋文贤 王仲黎 SONG Wen-xian;WANG Zhong-li(School of Music and Dance,Yunnan Normal University,Kunming 650000,China;College of Literature,Yunnan University,Kunming 650091,China)

机构地区：[1]云南师范大学音乐舞蹈学院,昆明650000 [2]云南大学文学院,昆明650091

出　　处：《遵义师范学院学报》2023年第2期157-161,共5页Journal of Zunyi Normal University

基　　金：2022年云南省社科基金一般项目“云南抗战音乐中的身份认同问题研究”(YB2022074);2019年云南省教育厅一般项目“近现代多重语境下沧源佤族宗教音乐多元共生现象研究”(2019J0107)。

摘　　要：多元仪式音乐和谐共生是云南佤族同其他民族和谐、团结民族关系在音乐范畴中的投射。民族迁徙、杂居形成的互嵌格局为佤族仪式音乐文化生成、交融提供了社会条件,“和而不同”思维模式是佤族多元仪式音乐和谐共生的心理基础,持续吸纳异质仪式音乐要素并将其整合于佤族民族文化是佤族多元仪式音乐和谐共生之根本。佤族多元仪式音乐构筑了佤族共同精神家园,其生成与演化模式契合了中华民族音乐“多元一体”特质。The harmonious coexistence ofmultiple ritualmusic is the projection of the harmonious and united ethnic relationship between the Wa nationality and other nationalities in Yunnan in the music category.The inter-embedded pattern formed by ethnic migration and cohabitation provides social conditions for the formation and integration of Wa ritual music culture.The“harmony with difference”thinking mode is the psychological basis for the harmony of Wa’s multi-ritual music.The continuous absorption of heterogeneous ritual music elements and their integration into Wa’s culture is the basis for the harmonious coexistence of Wa’s multi-ritual music.The Wa nationality’s multi religious music constructs the Wa nationality’s common spiritual home,and its generation and evolution model con-forms to the“pluralistic integration”characteristics of Chinese national music.

关 键 词：佤族 民族音乐 和谐共生 多元一体 

分 类 号：J607[艺术—音乐]