甘南藏族民歌的戏剧性特征透视——以夏河“格尔”《样瑞再》、拉卜楞“卓”《邦金美朵》为例  

An Overview of the Dramatic Development of Tibetan Folk Songs in Gannan——Take Xiahe's"Geer"Yangruizai and Labrang's"Zhao"Bangjinmeiduo as Examples

作　　者：王亚莉 WANG Yali(School of Music and Dance,Zaozhuang University,Zaozhuang 277160,China)

机构地区：[1]枣庄学院音乐与舞蹈学院,山东枣庄277160

出　　处：《枣庄学院学报》2024年第3期140-144,共5页Journal of Zaozhuang University

摘　　要：甘南地区流传的藏族民歌中,拉卜楞寺院夏河地区的“格尔”和“卓”最富影响力。通过分析夏河“格尔”《样瑞再》与拉卜楞“卓”《邦金美多》中题材内容、表演形式的戏剧性特点,管窥这些民歌中“宗教”与“世俗”并置的风格特点。分析甘南藏族民歌这些戏剧性特色的成因,主要是由于这一区域所盛行的藏传佛教文化对藏族人们生活、文化的深刻影响而造成的。Among the Tibetan folk songs spread in Gannan area,the"ger"and"Zhuo"in Xiahe area are the most influential.This paper analyzes the dramatic features of the themes and performances in the two folksongs,namely,Xiahe's"ger"and Labrang's"bangjinmeiduo",and explores the juxtaposition of"religion"and"secularity"in these folk songs.This paper holds that one of the reasons for this dramatic feature is the profound influence of Tibetan Buddhist culture prevailing in this relatively closed area on Tibetan people's life and culture.

关 键 词：甘南藏族民歌 格尔 卓 戏剧性 

分 类 号：J642.2[艺术—音乐]