庆阳唢呐音乐结构灵活性特征研究

Musical Structure Adaptability in Qingyang Suona:A Cultural and Performative Analysis

庆阳唢呐,是以唢呐为主奏乐器的鼓吹乐,流行于甘肃省庆阳地区,2006年获国务院批准成为第一批国家级非物质文化遗产。本文选择庆阳唢呐曲牌中的只曲、套曲,聚焦实际表演、文献乐谱中音乐结构所呈现的不同层面的固定与变化现象,即比较分析庆阳唢呐代表性只曲曲牌【小开门】和【担水】,总结同一曲牌的若干变体规律。对庆阳唢呐文献收录中的全部套曲(16首)与实际演奏中的套曲进行分析,研究其头、身、尾的组合与变化规律。进而,从只曲、套曲的各类变化中,总结庆阳唢呐音乐结构的灵活性特征与社会文化成因。

The Qingyang suona,characterized by its suona-led drum music and rooted in Gansu Province's Qingyang,was recognized as a national intangible cultural heritage by the State Council in 2006.This study examines the Zhiqu and divertimenti within the Qingyang Suona Qupai,with a specific focus on the dynamics of musical structure as evidenced in both performances and notated scores.A comparative analysis of representative pieces,such as Xiao Kaimen and Dan Shui,is conducted alongside an examination of the structural components-introductory,central,and concluding segments-in both documented and performed divertimenti.The research further extrapolates the inherent flexibility of the Qingyang suona's musical structure,elucidating the sociocultural factors underpinning this adaptability.