乌兰杰蒙古族音乐研究述论
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摘要
乌兰杰先生是当代蒙古族音乐研究的奠基人、开拓者。他提出蒙古族音乐发展的"三阶段论",对蒙、汉历史文献进行系统梳理,结合考古学资料,提出从现今民间音乐逆向考察的思路与方法,完成了蒙古族音乐通史研究,将蒙古族音乐与北方草原游牧民族音乐进行纵向关联研究,探索草原游牧音乐文化的传承发展规律。在长调、歌舞音乐、短调、史诗、器乐、萨满音乐、佛教音乐、蒙古族宫廷音乐、乌力格尔、叙事民歌等领域的"史"与"论"研究方面,均作出了开创性的研究,为当代蒙古族音乐研究奠定了基础。
Mr. Wu Lanjie is the founder and pioneer in in contemporary research on Mongolian music. He has proposed "Three Stages Theory" on the development of Mongolian music. And on the basis of systematically settling the historical document both in Mongolian and Han, Combining archeology date and using the idea and method of reverse investigation creatively in folk music nowadays, he has finished the research on general history of Mongolian music. Furthermore, he has explored historical law of inheritance and development about prairie nomadic musical culture through researching on the longitudinal association between Mongolian music and the northern nomadic music. He has made seminal contributions that laid the foundation for the contemporary research on Mongolian music in the perspectives of narrations and remarks, which include Long Tune, Song-dance music, Short Tune, epic poetry, instrumental music, Shaman music, Buddhist music, Mongolian court music, Uliger, Narrative folk song, and so on.
Mr. Wu Lanjie is the founder and pioneer in in contemporary research on Mongolian music. He has proposed "Three Stages Theory" on the development of Mongolian music. And on the basis of systematically settling the historical document both in Mongolian and Han, Combining archeology date and using the idea and method of reverse investigation creatively in folk music nowadays, he has finished the research on general history of Mongolian music. Furthermore, he has explored historical law of inheritance and development about prairie nomadic musical culture through researching on the longitudinal association between Mongolian music and the northern nomadic music. He has made seminal contributions that laid the foundation for the contemporary research on Mongolian music in the perspectives of narrations and remarks, which include Long Tune, Song-dance music, Short Tune, epic poetry, instrumental music, Shaman music, Buddhist music, Mongolian court music, Uliger, Narrative folk song, and so on.
引文
[1]乌兰杰.蒙古族音乐史[M].呼和浩特:内蒙古人民出版社,1998.
[2]乌兰杰.蒙古族古代音乐舞蹈初探[M].呼和浩特:内蒙古人民出版社,1985.
[3]乌兰杰.草原文化论稿[M].台北市:台湾蒙藏委员会出版社,1997.
[4]乌兰杰主编.蒙古学百科全书·艺术[M].呼和浩特:内蒙古人民出版社,2013.
[5]荣苏赫.蒙古族文学史(一)[M].呼和浩特:内蒙古人民出版社,2000.
[6]乌兰杰赵宋光.蒙古族民歌精选99首[M].北京:中央民族出版社,1993.
[7]乌兰杰.中国蒙古族长调民歌[M].北京:中央音乐学院出版社,2012.
(1)关于此段话,乌兰杰先生后来解释说,每个民族都有自己的音乐,因此当然都有自己的音乐史。这里所说的“音乐史”,是指音乐史著作而言。参阅乌兰杰先生《蒙古族音乐史》(呼和浩特:内蒙古人民出版社1998年版)第427页详述内容。
(2)根据乌兰杰先生讲课内容记录。
(3)以上三篇论文载于乌兰杰:《草原文化论稿》,台湾“蒙藏委员会”,1997年。
(4)参阅乌兰杰先生《草原牧歌简论》一文(载《蒙古族古代音乐舞蹈初探》,呼和浩特:内蒙古人民出版社1985年版)的相关内容。
(5)参阅乌兰杰先生《蒙古族音乐史》(呼和浩特:内蒙古人民出版社1998年版)一书第231页~235页相关表述,另见《蒙古学百科全书·艺术》(呼和浩特:内蒙古人民出版社2013年版,16页~17页)中,则表述为吟诵体史诗、曲牌体史诗、说唱体史诗三种。
[2]乌兰杰.蒙古族古代音乐舞蹈初探[M].呼和浩特:内蒙古人民出版社,1985.
[3]乌兰杰.草原文化论稿[M].台北市:台湾蒙藏委员会出版社,1997.
[4]乌兰杰主编.蒙古学百科全书·艺术[M].呼和浩特:内蒙古人民出版社,2013.
[5]荣苏赫.蒙古族文学史(一)[M].呼和浩特:内蒙古人民出版社,2000.
[6]乌兰杰赵宋光.蒙古族民歌精选99首[M].北京:中央民族出版社,1993.
[7]乌兰杰.中国蒙古族长调民歌[M].北京:中央音乐学院出版社,2012.
(1)关于此段话,乌兰杰先生后来解释说,每个民族都有自己的音乐,因此当然都有自己的音乐史。这里所说的“音乐史”,是指音乐史著作而言。参阅乌兰杰先生《蒙古族音乐史》(呼和浩特:内蒙古人民出版社1998年版)第427页详述内容。
(2)根据乌兰杰先生讲课内容记录。
(3)以上三篇论文载于乌兰杰:《草原文化论稿》,台湾“蒙藏委员会”,1997年。
(4)参阅乌兰杰先生《草原牧歌简论》一文(载《蒙古族古代音乐舞蹈初探》,呼和浩特:内蒙古人民出版社1985年版)的相关内容。
(5)参阅乌兰杰先生《蒙古族音乐史》(呼和浩特:内蒙古人民出版社1998年版)一书第231页~235页相关表述,另见《蒙古学百科全书·艺术》(呼和浩特:内蒙古人民出版社2013年版,16页~17页)中,则表述为吟诵体史诗、曲牌体史诗、说唱体史诗三种。