摘要
关于刀郎木卡姆的名称一直存有争议,除了刀郎木卡姆外还有刀郎麦西莱甫、刀郎赛乃姆、巴亚宛等不同称谓,这些称谓皆与刀郎木卡姆这种歌舞套曲有着密切的联系,有其存在的合理性,有不少民间艺人和学者沿袭这些称呼。本文首先将刀郎木卡姆与麦西莱甫、赛乃姆、巴亚宛三个名称从概念到内涵进行辨析加以区别,进而从其本身所蕴含的结构规律和程式化套路论证赋予其"木卡姆"名称的合理性。
There have been disputes over how to say"Dulan Muqam". Besides Dulan Muqam,this art has some different names such as"Dulan Maxrap","Dulan Sanam"and"Bayawan". All these names have close connections with "Dulan Muqam",a singing and dancing cyclical form. Their existence are reasonable. Many folk artists and scholars have continued to use these names. The author of this paper first analyzes "Dulan Muqam","Dulan Maxrap","Dulan Sanam"and "Bayawan"from their concepts and connotations to distinguish them, and then expounds and proves the structure law and stylized pattern contained in that to endow the name "Muqam"with its rationality.
出处
《喀什大学学报》
2017年第4期36-41,共6页
Journal of Kashi University
基金
2015年度广东省科技计划项目"刀郎木卡姆伴奏技术研究"(项目编号:2015A020210001)成果之一
2014年度教育部人文社会科学研究青年基金项目"麦盖提刀郎木卡姆研究"(项目编号:14YJC760073)的阶段性成果