论文部分内容阅读
乃日是一种民俗仪式,是一种模式,并体现为人的仪式行为。作为模式,乃日是凌驾于个人之上的,是集体的,也是传统的。表演者会明显地或者是隐含地依照模式,并根据以往的经验来建构当下的表演。音乐模式和实践将思维与行为,抽象与具象,个体与群体、历史与当下等诸多因素联结了起来,为个体的行为提供了一种可供遵循的框架,也为当下提供一种解释,而且为每个仪式实践者的行为提供了一个合法性。乌珠穆沁婚礼中的乃日仪式音乐,是该部落音乐资源的集中体现;通过“乃日”仪式,人们赋予了音乐作品以特定的符号的意义和象征的功能。它体现了该群体特定的价值观,与他们特定的民俗习惯、行为规范相连系,并被当作民俗符号而运用仪式角色之间的互动当中。模式是实践的依据,然而实践并不是模式的完整再现,相反它时刻处于流动变化当中——人们往往用当下的资源来阐释传统、重建传统。
It is a kind of folk ritual, a pattern, and a manifestation of human ritual. As a model, Nairi is above the individual, collective and traditional. Performers explicitly or implicitly follow the pattern and construct the current performance based on past experience. Musical patterns and practices combine thinking and behavior, abstraction and figurativeness, individuals and groups, history and the present, and many other factors, providing a framework for individual behavior to follow and providing an explanation for the moment, and It provides a legitimacy for every ritual practitioner’s behavior. The Ritual Music in Ujmudqin Wedding Ceremony is a concentrated expression of the tribal music resources. Through the ritual of “Being the Lord,” people give the musical works the function of symbolic meaning and symbolism. It embodies the specific values of the group, linked to their specific folklore, codes of conduct, and used as symbols of folklore in the interaction between ritual roles. The model is the basis of practice, but practice is not a complete reproduction of the model. Instead, it is constantly in the midst of a changing flow - people tend to interpret the tradition and rebuild the tradition with the current resources.