珠江咸水歌形态初探

【外文题名】The Pilot Study On The Landscape Of Salty Water Songs Of Pearl River

【作者】 胡雯婷

【关键词】 珠江流域 咸水歌 形态 传承和保护

【导师姓名】陈希

【学位名称】硕士

【学位年度】2012

【学位授予单位】暂无

【所属分类】P942,S912

【录入时间】2012-01-01

【全文挂接】 万方挂接 读秀挂接

【摘要】度取决于水上先民生活的地理环境。疍民被称为“水上吉普赛人”，终日浪迹江河，与风浪搏斗；他们的生活、爱情、工作都在水上进行；他们被划分为社会最底层，受到严苛的法律的限制，生活得异常艰苦；因而需要通过歌谣去抒发他们的心声，表达内心的情感。 第二章，咸水歌的文化内涵。疍民以歌寄寓生活，以歌抒发情怀，因而咸水歌的题材覆盖面广，天文、地理、社会政治、经济、感情生活等，都能成为疍家歌谣的内容。建国后，咸水歌更有了歌颂党、歌颂生产生活的内容。而根据演唱区域和调式调性，珠江流域的咸水歌主要分为姑妹腔、担伞调、高堂歌、叹歌（叹家姐）等。 第三章，咸水歌的艺术形态。咸水歌一般是由上句和下句组成，也就是单乐段体（二段体）。调式一般是五声调式，特别以徵调式为主。唱词多数是歌手以民间口头语、通过口传心授的方式传唱下来。咸水歌常用“起兴”、“比喻”、“直叙”、“夸张”、“对比”、“重复”等艺术手法来抒情叙事，表现人物思想感情，加深形象思维。另外，由于地域、所承载的民俗文化内涵、调式等等差异，咸水歌与客家山歌、意大利民歌之间有较大区别。 第四章，咸水歌的表演形式。咸水歌多用“称谓”来作为开头和结尾，富有人情味；而其节奏随着疍家心情的起伏而变化。疍民演唱咸水歌时喜欢即兴创作，同时各地的曲调基本一致。 第五章，咸水歌的传承和保护。随着疍民们上岸，社会生产和生活方式的改变，普通话的推广以及流行音乐和外来文化的冲击，咸水歌赖以生存的文化生态受到了极大的破坏，几乎走到了边缘。如何保护咸水歌呢？笔者认为，可以通过咸水歌与旅游产业的互动，若然它们有机结合，可以相得益彰。 咸水歌是疍家民俗最好的传承载体，是我们了解、研究疍家文化的重要窗口。它源自生活、贴近生活，适应的场合广；它可以即兴创作，音调婉转动听，歌词通俗易懂。一曲咸水歌唱尽珠江情。因而，保护咸水歌，对于传承民俗文化血脉和保护地方传统文化，具有重大、深远的意义。...

【外文摘要】Situating the Salty Water Songs in the geographical context of Pearl River, this paper attempts to explore their musical and cultural ecology, history and origin, cultural connotations, art forms, forms of performance, as well as effective measures to preserve them.This paper mainly consists of five parts. Chapter One traces back the origin and history of the Salty Water Songs in the Pearl River basin. So far there has been no conclusion over the question why the ballads composed by the boat-dwelling people are referred to as “Salty Water Songs”. The author proposes that the underlying reason lies in the geographical conditions of these people’s habitat. Nicknamed “Gypsies on water”, the boat-dwelling people have been roving above rivers and struggling with the storms and waves. It’s on water that they live, love and work. Perceived as the bottom of the social hierarchy, they are subject to stringent laws and a terribly difficult life. Therefore, they need to express their emotions and feelings through ballads. Chapter Two elaborates the culture of Salty Water Songs. The boat-dwelling people sing out of their life experience and emotion, so these ballads can be about a wide range of themes, including astronomy, geography, social politics, economy and love, etc. Since the founding of People’s Republic of China, these people have also started to sing the praises of the Chinese Communist Party, and of the work and life. Depending on the region, mode and tonality, the Salty Water Songs in the Pearl River Basin can be classified into several types, including Gu Mei Qiang, Dan San Diao, Gao Tang Ge, Tan Ge (or Tan Jia Jie), etc. Chapter Three explores the artistic forms of the Salty Water Songs. In general, these ballads are composed of two phrases in the Binary Form. They are generally pentatonic and mainly based on the Mode of Zheng. Most lyrics are improvised in the spoken language and passed down orally. When it comes to the means of artistic representation, rhetorical techniques like indirect reference (Qi Xing), straightforward narration, exaggeration, antithesis and repetition are commonly employed for emotive expression and image reinforcement. Furthermore, due to the differences in region, mode and folklore cultural connotation，the Salty Water Songs differ a lot from the Hakka folk songs and Italian folk songs. Chapter Four investigates the performance forms of Salty Water Songs. These songs usually start and end with appellations, reflecting a rich human touch, while the rhythm fluctuates and varies in line with the singer’s emotions. The boat-dwelling people feel like improvising the lyrics when singing, but the melodies in various regions remain basically the same. Chapter Five discusses the preservation and protection of Salty Water Songs. With the boat-dwelling people’s migration ashore, the changes in the way of social production and lifestyle, the popularization of Mandarin as well as the impact of pop music and foreign culture, tremendous damages have been done to the cultural ecology essential for the survival of the Salty Water Songs. Therefore, they are almost pushed onto the brink of demise. Then how to preserve these ballads? The author proposes that the Salty Water Songs and the tourism industry, if integrated together, can be complementary to each other. The Salty Water Songs constitute the best carrier of inheritance for the boat-dwelling folklore, as well as an important window through which to understand and study the culture of the boat-dwelling people. Originating from and centering on people’s life, these ballads can be improvised for a wide range of occasions, with pleasant melodies and straightforward lyrics. Therefore, the preservation of the Salty Water Songs has far-reaching significance for protecting the folklore bloodline and the local traditional culture....