仪式乐舞的文本层次与叙事结构——以青海黄南藏族传统仪式乐舞为例  

On the Textual Layout and Narrative Structure of Ritual Music and Dance:A Case Study of the Traditional Ritual Music and Dance of Tibetan People in Huangnan Tibetan Autonomous Prefecture,Qinghai Province

作　　者：王海龙 WANG Hailong(School of Music,Qinghai Normal University,Xining,Qinghai 810008,China)

机构地区：[1]青海师范大学音乐学院,青海西宁810008

出　　处：《贵州大学学报（艺术版）》2024年第1期110-118,共9页Journal of Guizhou University Art Edition

摘　　要：代表着青海黄南传统文化的藏族乐舞仪式“六月会”,具有跨族群文化内容和多元审美形态。其各类文本中的程式(巫)和程序细节(礼)成为远古神话的符号。其乐舞文化包含三层叙事结构:精神信仰的濡化叙事,涉及乐的语义表述,依托于仪式中的程式与仪式人来进行;文化形态的情境叙事,涉及乐的语境表述,依托于仪式中以乐器为代表的能指来实现;娱情审美的情感叙事,涉及乐的互文表述,依托于音乐语言、音声、表演与受众的行为交互来完成。"Liu-yue-hui"(the sacrificial ceremony for the worship of the mountain god)as a Tibetan music and dance ceremony represents the traditional culture of Huangnan Tibetan autonomous prefecture in Qinghai province,which encompasses cross-ethnic cultures with diverse aesthetic forms.As its procedures(the elements of witchcraft is embodied)and the details of its procedure(the ritual is embodied)in all texts become the symbols of the ancient mythology.There are three narrative structures in its music and dance culture.Firstly,it is the narrative of cultivation for the spiritual belief that involves the semantic expression of the music,which relies on the procedure and the performers of the ritual to achieve it.Secondly,it is the contextual narrative of cultural forms that takes the musical instruments in the ritual as the signifiers to achieve its symbolic functions,And thirdly,it is the emotional narrative for entertainment and aesthetics that involves the intertextual expression of music with the interaction between music language,sound,performance,and audience behaviors.

关 键 词：“六月会” 仪式乐舞 神话符号 文本叙事 

分 类 号：J607[艺术—音乐]