冀北丰宁“吵子会”音乐历史与发展语境研究

Study of the History and the Development Context of “Chaozihui” Music in Fengning,North of Hebei Province

"吵子会"作为中国北方的一种区域性民间乐种,同时也属于一种跨族群(满、蒙、汉)的传统音乐文化。"礼乐相须以为用"的用乐规则在丰宁"吵子会"的文化象征语境中得以鲜明的表达。丰宁"吵子会"乐班的文化身份与"非遗"申报之争都是基于分享国家社会文化资源竞争背景下的产物。丰宁县各个村寨浓厚的民间祭祀仪式氛围为"吵子会"音乐的生存、发展与传承培育了十分肥沃的民俗文化土壤。即,有庙就有会,有庙就有戏台(戏楼),为神唱戏,人神共享的民俗仪式文化语境是丰宁"吵子会"传承与发展的一种最为重要的内在驱动力。

＂Chaozihui＂is a regional folk music in Northern China and it is also a trans-ethnic traditional music culture among Manchu,Mongolian and Han people. The musical rule ＂Liyue Xiangxu Yiweiyong＂is obviously expressed in the cultural symbolic context of Fengning ＂Chaozihui＂. Both the cultural identity of the Fengning ＂Chaozihui＂troupe and the contestation of the recognition of ＂intangible cultural heritage＂are products of the contestation of the national social cultural resources. The folk worship ritual environment in the villages in Fengning County provides ＂Chaozihui＂music rich folk cultural soil for its survival,development and transmission. Where there is a temple,there is a meeting; where there is a temple,there is a stage（ theatrical stage）. The folk ritual cultural context,which is featured by singing for gods and human-gods sharing,is the most important inner driving force for the transmission and development of ＂Chaozihui＂in Fengning.