【作者】 王海霞；

【导师】 金顺爱；

【作者基本信息】 东北师范大学 ， 音乐与舞蹈学， 2019， 博士

【摘要】 满族民歌是东北自然与人文生态环境中形成的、具有浓郁的民族乡韵气息和地方文化特色的歌唱形式。内容涵盖满族人民生产、生活及风土人情,表达了满族人民对美好生活的追求和向往。其唱词质朴,具有满族独特音律、情感真挚,深深扎根于满族人民的生活,伴随满族人民生活的音乐文化,以歌唱的方式记忆了满族民众的喜怒哀乐、悲欢离合的心声。本论文通过对满族民歌历时与共时发展空间的回顾,以文献记载、文化遗存的谱系资料为研究基础,以民间留存的传统民歌田野调查、搜集整理的满族民歌和文化融合发展为新的演唱形式的满族民歌为研究视角,通过个案分析和实践案例比较论证,对满族民歌人文自然生态形成依据、唱词音韵规律、演唱风格及表现形式、传承意义进行研究。论文研究共分为六部分。绪论部分主要阐述了研究缘起、研究思路、研究现状与问题、相关概念的界定,并对研究意义与创新、研究目的与方法之处作了阐述。第一章,通过对满族民歌的历史梳理,从“满族民歌历史文化”视角,阐述了历史遗存的满族民歌与自然和人文生态中满族民歌间的依存关系。并历时性地梳理了不同族源地域满族民歌文化发展历程,论述了满族民歌与民族精神信仰和活态演唱发展之间的内在联系。第二章,以当下留存的不同类型的满族民歌为研究对象,通过不同民歌案例论证,阐述了满族民歌在演唱内容、音调结构及不同演唱风格方面的特征,诠释了满族民歌题材之一萨满神歌的演唱特点和存在价值。第三章,从语言学语境探讨了满语民歌语言演唱艺术和方言音韵特点。通过实践案例比较分析,阐述了区域其他民族民歌与满族民歌唱词韵律演唱个性特征,并对满语、满汉双语、汉语三种语言演唱形式的满族民歌演唱风格个性进行了深入研究。第四章,从文化超越视角,阐述了原生形态满族民歌创新、融合发展后的呈现形式,论证了创新后的满族民歌演唱风格特点。从“和而不同”角度出发,通过实例分析,比较了同一语族同一类型民歌演唱风格特点、同一地域同一类型不同族源的民歌演唱个性。论述了如何借鉴、融合现代多元音声技法超越原生民歌演唱方式的当代呈现,并以实践表演例证形式阐述了服饰、舞蹈、乐器等综合艺术对满族民歌艺术呈现的辅助作用。第五章,阐述了多元文化形态下,满汉文化融合对满族民歌传承与实施路径的影响,分析多样化语境下满族民歌传承形式、演唱形式、传承视域是如何适应当代社会时代发展方向,适应当下人们审美认知观念。更多还原

【Abstract】 Manchu folk song is a singing form formed in the natural and humanistic ecology of Northeast China with strong ethnic and rural charm and local cultural characteristics.The content of the singing form covers the production,life and local customs of the Manchu people,and expresses their longing and pursuit for a better life.The singing words are simple and rustic,and composed of unique Manchu tones,which display sincere emotions deeply rooted in the life of the Manchu people.These songs record the feelings of the Manchu people’s joy,anger,happiness and sadness,therefore developing into a music culture that accompanies the life of the Manchu people.Through case analysis and case comparison,this thesis studies the foundations of the formation of natural and humanistic ecology,the rhythm of singing words,singing styles and expressions,and significance of inheritance of Manchu folk songs.To be specific,this thesis looks back on the diachronic and synchronic development space of Manchu folk songs,utilizes the literature records and the genealogical data as research materials,and develops its perspectives with respect to field-investigated traditional reserved folk songs,and extensively-collected new-style folk songs integrated with cultural characteristics of the times.The thesis is divided into six parts.The introduction part mainly states the origin of the research,the research ideas,the research status and problems,the definition of related concepts,the research purpose and methods,and the research significance and contribution.The first chapter,from the perspective of "history and culture of Manchu folk songs",expounds the interdependent relationship between historically reserved Manchu folk songs and Manchu folk songs developed in natural and humanistic ecology,through a review of the history of Manchu folk songs.It also diachronically demonstrates the cultural development history of Manchu folk songs in different ethnic regions,and further discusses the underlying relationship between ethnic spiritual belief represented by Manchu folk songs and the development of live singing.The second chapter,explains the characteristics of Manchu folk songs in terms of singing contents,tone structure and singing style differences,through case studies of different types of currently existing Manchu folk songs.subsequently,this chapter elaborates the singing features and value of existence of Shaman divine songs—a representative type of the Manchu folk songs.The third chapter discusses the singing arts and the dialect phonological characteristics of Manchu folk songs from the perspective of Contextual Linguistics.Through comparative analysis of practical cases,this chapter expounds the similarities and differences of words rhythms and singing styles between Manchu folk songs and other ethnic folk songs in the same region,and conducts an in-depth study of the singing styles of Manchu folk songs in three languages: Manchu,Manchu/Chinese mix,and Chinese.The fourth chapter illustrates the representation of original Manchu folk songs after the processes of innovation,integration and development,and displays the characteristics of singing styles of innovated Manchu folk songs,from the perspective of cultural transcendence.From the perspective of "difference but harmony",singing styles of folk songs in the same ethnolinguistic groups and of the same type are compared,and so are the singing individuality in the same region,of the same type but from different ethnic sources,through the analyses of cases.This chapter continues to discuss how original Manchu folk songs are transcended and contemporarily represented by drawing on and integrating modern multi-tone sound techniques,and exemplify the supporting roles of costumes,dance,musical instruments and other comprehensive arts in the representation of Manchu folk songs with the help of practical performance examples.The fifth chapter mainly describes the influence of the integration of Manchu and Han culture on the inheritance and implementation of Manchu folk songs in the multicultural state,and further analyzes how the inheritance forms,singing forms,and inheritance horizons of Manchu folk songs adapt to the development directions of contemporary society and to people’s aesthetic cognition of the moment in diverse linguistic contexts.更多还原