东南亚优勉瑶《盘王大歌》唱本的比较分析研究  

A Comparative Analysis of Iu Mien Ballad The Epic Song of Panwang in Southeast Asia

作　　者：赵书峰 李政航 ZHAO Shufeng;LI Zhenghang

机构地区：[1]湖南师范大学音乐学院

出　　处：《星海音乐学院学报》2024年第2期51-70,共20页Journal of Xinghai Conservatory of Music

基　　金：国家社科基金冷门绝学研究专项学者个人项目“中国与东南亚瑶族《盘王大歌》系列传世唱本整理与研究”(20VJXG022)。

摘　　要：《盘王大歌》是中国瑶族“还盘王愿”(又称“还家愿”)仪式中的核心唱本,当下逐渐传播至东南亚以及欧美各地。在东南亚,尤其是越南、老挝、泰国的优勉瑶《盘王大歌》的唱本内容与腔词结构在受传播时间、迁徙路线、主流文化、宗教信仰等综合因素影响下发生了不同程度的演变,呈现出鲜明的地方化差异。其中,越南的优勉瑶经历了儒释道等思想与宗教体系,以及“汉字文化圈”因素的影响,致使其形成了以“主文化—亚文化”为特点的结构类型,较之传统原生性文化出现高度的文化趋同(同质化)现象。相比之下,老挝与泰国的优勉瑶由于持续性接受主流文化(如南传佛教)的深刻影响,导致其仪式唱本语言的传承与仪式的完整维系程度都较中国和越南次之,出现显著的文化异质化现象,从而呈现为多元性、差异性与互融性的符号表达。The Epic Song of Panwang is the core song in the"Redeeming Panwang's Wish"(also known as"Redeeming Households'Wish")ritual of the Yao ethnic group in China.It has spread to Southeast Asia and even to Western countries.In Southeast Asia,particularly in Vietnam,Laos,and Thailand,the content,words and tune structure of The Epic Song of Panwang of Iu Mien ballad have evolved due to comprehensive factors such as the time of dissemination,migration routes,mainstream culture,and religious beliefs,showing varying degrees of local differences.Vietnamese Iu Mien ballad,influenced by Confucianism,Buddhism,Taoism,and"Sinosphere",developed a structural type characterized by a"main culture-subculture"model,exhibiting high levels of cultural convergence(homogenization)compared to the traditional original culture.In contrast,the Iu Mien ballad in Laos and Thailand have been deeply influenced by mainstream culture(such as Theravada Buddhism),resulting in the inheritance of their ritual script language and the integrity of their rituals being inferior to those in China and Vietnam,showing a significant cultural heterogeneity phenomenon,thus presenting a symbolic expression of diversity,difference and integration.

关 键 词：《盘王大歌》 东南亚优勉瑶 仪式唱本 比较研究 

分 类 号：J607[艺术—音乐]