砀山唢呐在当地婚葬仪式中的运用
|
摘要
国家级非物质文化遗产砀山唢呐,在当地婚葬仪式中的存续现状值得研究。在农村婚丧嫁娶仪式中砀山及其周边地区还保持着带有浓郁地方特色的传统礼仪,礼仪的每一个环节都有大致固定的唢呐演奏曲目,从而体现了唢呐演奏以烘托礼仪氛围的实用性音乐功能。如对新人祝福或对逝者祭奠,所使用的乐曲在调性、旋法、速度等方面各有特色,喜事曲牌常采用各种徵调式,而丧事曲牌常采用宫调式。喜事所吹奏的旋律通常会出现一个高音re到中音sol的下行核心音调及其变体,丧事在乐曲开始通常会用带有延长号的中音la和高音do两个音作为引子。另外,喜丧事曲牌演奏中常灵活地运用一个固定的结束句,以便根据礼仪时值的长短在任何一个乐曲小节后直接结束演奏。砀山唢呐是当地婚丧嫁娶仪式不可缺少的元素,而婚丧嫁娶仪式也为砀山唢呐的传承和发展提供了稳定的载体。
Dangshan suona, one of the national intangible cultural heritage, is worth analyzing for its survival status in local wedding and funeral ceremonies. In Dangshan and surrounding rural areas, traditional etiquettes with their strong local characteristics are kept in wedding and funeral ceremonies. Every aspect of etiquette has a generally fixed musical score, which reflects the practical musical function of playing music to express etiquette. For example, to bless the newlyweds or pay homage to the dead, the music used has its own characteristics in terms of tone, rotation, speed, and so on. In wedding, it prefers to use the mode of requisition-style, but in funeral, Gong Diao tunes is often used. The music played in wedding ceremony usually shows a downward-core tone and variant of a high tone re to the middle tone sol, and the funeral ceremony usually uses the middle tone la and the high tone do with the extension as the introduction. Furthermore, in order to end the performance directly in accordance with the length of etiquette value, a fixed ending note is flexibly used in ceremony in most of the time. Dangshan suona is an indispensable part in local wedding and funeral ceremonies, and vice versa, the wedding and funeral ceremonies also provid a stable carrier for the inheritance and development of Dangshan suona.
Dangshan suona, one of the national intangible cultural heritage, is worth analyzing for its survival status in local wedding and funeral ceremonies. In Dangshan and surrounding rural areas, traditional etiquettes with their strong local characteristics are kept in wedding and funeral ceremonies. Every aspect of etiquette has a generally fixed musical score, which reflects the practical musical function of playing music to express etiquette. For example, to bless the newlyweds or pay homage to the dead, the music used has its own characteristics in terms of tone, rotation, speed, and so on. In wedding, it prefers to use the mode of requisition-style, but in funeral, Gong Diao tunes is often used. The music played in wedding ceremony usually shows a downward-core tone and variant of a high tone re to the middle tone sol, and the funeral ceremony usually uses the middle tone la and the high tone do with the extension as the introduction. Furthermore, in order to end the performance directly in accordance with the length of etiquette value, a fixed ending note is flexibly used in ceremony in most of the time. Dangshan suona is an indispensable part in local wedding and funeral ceremonies, and vice versa, the wedding and funeral ceremonies also provid a stable carrier for the inheritance and development of Dangshan suona.
引文
[1]砀山县志编委会.砀山县志[M].北京:方志出版社,1996:58.
[2]赵宴会,赵士玮.苏北赵庄唢呐班与婚、丧仪式研究[J].中央音乐学院学报,2009(11):15—18.
[3]曹本冶.中国传统民间仪式音乐研究[M].昆明:云南人民出版社,2003:351.
(1)唢呐班:当地称喇叭班子或响器班子。
(2)枪手:当地称放枪的,当地习俗放枪多以此震慑鬼神。
(3)坐台吹:围坐方桌吹奏。
(4)搭台吹:搭建一米左右,十几平米台子吹奏,规模较大一些。
(5)走台吹:行走吹奏形式。
(6)喝喜酒:当地朋友关系在婚礼前一天晚上吃饭称为喝喜酒,婚礼当天叫添乡。
(7)把攥子:用手攥着利用手掌捂、把而发音。
(8)摔烙盆:其实就是一个底部穿有一个小孔的陶盆,民间丧葬时摔“烙盆”就意味着继承权的实现,民间称“擎住”,也就是继承了老人所有的家产和家族的权力。
[2]赵宴会,赵士玮.苏北赵庄唢呐班与婚、丧仪式研究[J].中央音乐学院学报,2009(11):15—18.
[3]曹本冶.中国传统民间仪式音乐研究[M].昆明:云南人民出版社,2003:351.
(1)唢呐班:当地称喇叭班子或响器班子。
(2)枪手:当地称放枪的,当地习俗放枪多以此震慑鬼神。
(3)坐台吹:围坐方桌吹奏。
(4)搭台吹:搭建一米左右,十几平米台子吹奏,规模较大一些。
(5)走台吹:行走吹奏形式。
(6)喝喜酒:当地朋友关系在婚礼前一天晚上吃饭称为喝喜酒,婚礼当天叫添乡。
(7)把攥子:用手攥着利用手掌捂、把而发音。
(8)摔烙盆:其实就是一个底部穿有一个小孔的陶盆,民间丧葬时摔“烙盆”就意味着继承权的实现,民间称“擎住”,也就是继承了老人所有的家产和家族的权力。