傈僳族民歌的口头传统探析  

An Exploration of the Oral Tradition of Lisu Folk Songs

作　　者：余七斤 YU Qi-jin(Nujiang Prefecture Federation of Literary and Art Circles,Lushui Yunnan 673200,China)

机构地区：[1]怒江州文学艺术界联合会,云南泸水673200

出　　处：《铜陵学院学报》2025年第1期87-91,共5页Journal of Tongling University

摘　　要：傈僳族民歌作为国家级非物质文化遗产,是傈僳族文化的重要载体,其以口头传承的形式在民间流传,涵盖了政治、经济、文化等多个方面。文章基于口头程式理论,选取傈僳族三大调“木刮”“摆时”和“优叶”作为分析对象,从词汇选择、修辞手法、句法结构、数字运用和音律特点等角度深入探讨其口头传统特征。研究发现,傈僳族民歌在传承过程中形成了独特的程式化特征:词汇上多采用方言和助词,修辞上运用比喻、拟人、夸张等手法,句法上呈现重叠复沓和对仗结构,数字运用上具有特定的文化象征意义,音律上则强调节奏和韵律。这些程式化特征不仅便于记忆和传唱,还促进了歌手与听众之间的互动,增强了民歌的感染力和传承力。As a National Intangible Cultural Heritage,Lisu folk songs are an important carrier of Lisu culture.They spread among the people in the form of oral inheritance,covering many aspects such as politics,economy and culture.Based on the theory of oral formula,this study selected three major tunes of Lisu,“Mugua”“Baishi”and“Youye”,as the objects of analysis.From the perspectives of lexical choice,rhetorical devices,syntactic structure,number use and temperament characteristics,this paper probes into its oral tradition.It is found that Lisu folk songs have formed unique stylized expressions in the process of inheritance:dialects and auxiliary words are mostly used in vocabulary;metaphors,personifications and exaggerations are used in rhetoric;syntactically,it presents overlapping and antithetic structure.In the application of numbers,it has specific cultural symbolic meaning.In the aspect of melody,it emphasizes rhythm and rhyme.These stylized features are not only convenient for memorizing and singing,but also promote the interaction between the singer and the audience,and enhance the appeal and inheritance of folk songs.

关 键 词：傈僳族民歌 传承 口头传统 口头程式理论 

分 类 号：J607[艺术—音乐]