论《格萨尔王传》人物唱段音乐的多样性——以西藏那曲地区艺人的演唱为例

On the Diversity of Characters' Aria Music in the Epic of King Gesar——Taking the epic chanters from Nagchu County in Tibet as an example

藏族著名史诗《格萨尔王传》流传时间久远,流布地域宽广,篇幅规模宏大,描写内容丰富。如此庞大的史诗内容不仅以说唱艺术的形式传承与发展,而且存在着纵向历时性的同源性与横向共时性的差异性,并呈现出音乐形态的多样性与开放性。《格萨尔王传》说唱艺术包括"说"与"唱"两个部分:"说",即念诵形式,讲述故事情节,属于叙述故事的环节;"唱",即人物唱段,属于人物对话,通过不同人物的唱段呈现人物性格,塑造人物形象。文章以人物唱段音乐为研究对象,以乐谱分析为研究方式,从音乐本体的角度探究《格萨尔王传》人物唱段音乐的结构多样性、技法多样性和风格多样性。

The Tibetan famous epic of King C.esar has a long history, spreads wide with enormous length and rich content.Such a huge epic has not only been inherited and developed in the form of chanting, but also has longitudinal diachronic homology and horizontal synchronic variation. The epic also presents the diversity and openness in its music forms. Taking the characters＇ aria music as the research object, applying the method of music score analysis, this article explores the di-versity of the characters＇ aria music in its structure, technique and styles fi＇om the aspect of music ontology.