瑶族婚俗仪式音乐的调查研究——以湘、桂、滇瑶族为例

Investigative Studies on the Marriage Ceremony Music of Yao Nationality——Taking Yao Nationality in the Xiang Gui Dian Areas in China as Case

本文选取湘、桂、滇瑶族婚俗仪式音乐作为考察对象,针对其仪式与音乐的文化隐喻,以及多元文化语境中的传统与变迁问题进行思考。笔者认为,瑶族婚俗仪式音乐呈现出鲜明的道教色彩;其次,婚礼中的【朝天子】【大开门】【小开门】等唢呐曲牌是瑶、汉文化互动、交流的产物;第三,地域与跨地域性的瑶族婚俗音乐呈现出某些同质化与差异性特点:处于勉瑶文化圈内的湘、桂瑶族婚俗仪式音乐有很多相同之处,且汉化较为严重,而跨区域之间的湘桂与滇瑶族婚俗仪式音乐相比,前两者的唢呐曲牌较为丰富,对歌环节较少(尤其是坐歌堂仪式基本消失),后者反之;第四,在现代化、城镇化、商业化等多重语境作用下,湘、桂、滇瑶族婚俗音乐均体现出本土化与现代性的二元建构特点。

This paper selects the marriage ceremony music in the Xiang, Gui, Dian areas in China as cases to study the cultural implications of the rites and music in the ceremony, as well as the issue of tradition and change in the context of cultural diversity. Author＇s arguments are as following. Firstly, the Yao nationality＇s marriage music is of obvious Taoist features. Secondly, the Suona music used in the wedding ceremony, as The Tune of the Sky, Opening the Big Door and Opening the Small Door, is resulted from the cultural such inter- action between Yao and Han peoples. Thirdly, the Yao＇s marriage ceremony music seen in local or trans -lo- cal areas reveals both homogenization and divergences. For instance, the marriage ceremony music spread in the Xiang Gui Mian Yao areas share similarities and is sinicized seriously. Conversely, comparing the marriage ceremony music in Xianggui and Dianyao areas, Suona songs are rich and antiphonal songs in the former are scarce （especially the Sit Song Hall disappeared） in the former. Fourthly, under the factors of modernization, urbanization, commercialization and so on, the marriage ceremony music in the Xiang, Gui, Dian Yao＇s areas all demonstrate characteristics of a binary construction of aboriginality and modernity.