薅草锣鼓歌郎表演的三重性源流考释  

A Study on the Threefold Origins of Gelang(Singer)in the Performances of Gong&Drum Weeding Music

作　　者：文飞 白雪梅 Wen Fei;Bai Xuemei(Sichuan University of Culture and Arts,Mianyang,Sichuan 621000,China)

机构地区：[1]四川文化艺术学院,四川绵阳621000

出　　处：《贵州大学学报（艺术版）》2024年第5期91-100,共10页Journal of Guizhou University Art Edition

基　　金：川东非物质文化遗产保护与发展中心重点资助项目“‘文化线路’视野下川东薅草锣鼓与陇南薅草锣鼓口述史的比较研究”(项目编号:2022ZD02)。

摘　　要：薅草锣鼓是以“更互力田”为目的的传统农事音乐活动,歌郎作为薅草锣鼓传播与传承的主体,在其“表演”过程中呈现出“神圣性”“娱乐性”“权威性”的三重性特点。《周礼》中职官系统的“司祝”“龠章”与“鼓人”对于“歌郎”这一“角色”的最终形成存在着直接的关系。这表明,在“礼崩乐坏”后国家用乐并没有消失,而是与俗乐进行了深度的融合,从而演化出具有更强包容性与开放性的中华礼乐文明。The performances of gong&drum weeding music are traditional agricultural music activities with the purpose of"mutual help and collaboration in the fields".As the main part of the dissemination and inheritance of gong&drum weeding music,threefold characteristics are displayed by Gelang(singer):"sacredness","entertainment"and"authority"in their"performances".The official system of"Sizhu(the ceremonial fficial during the sacrificial ceremony)","Yuezhang(the official in charge of sacrificial rites)"and"Guren(the official in managing drum music)"in Rites of Zhou(Zhouli)has a direct relationship with the final formation of the"role"of"Gelang(singer)",And it shows that after the"collapse of rituals and music",state music did not disappear,but was deeply integrated with secular music,thus evolving a more inclusive and open Chinese ritual and music civilization.

关 键 词：薅草锣鼓 歌郎 源流 

分 类 号：J642[艺术—音乐]