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在学界对于中国道教音乐研究的过程中发现,中国各地的道教音乐形态中广泛存在着构成曲调基础的若干程式性的基本要素,在流传于东北地区,尤其是辽宁省大部分地区全真派宫观中的道教经韵——东北新韵中也有类似的现象。本文力图反思谱面分析方法是否足以说明东北新韵程式性特征的全部,以对东北新韵传习途径的田野调查,阐述作为以口传为主要传承手段的东北新韵,其程式性特征的展现建立在传习方法与结构性特征二者密不可分的结合基础上。
During the study of Chinese Taoist music in the academic circle, it was found that there are some basic elements in the Taoist music form all over China that form the basis of the tunes. In the traditions of the True Palaces in the Northeast China, especially in most parts of Liaoning Province, Taoist Taoist rhyme - a similar phenomenon in the new rhyme in the Northeast. This article attempts to reflect whether the method of spectral analysis is enough to explain all the stylistic features of northeastern rhyme. Based on the field investigation of the pathways of new rhyme writing in northeast China, the stylistic features of the novel in the northeast as the main means of inheritance through oral traditions are established On the transfer method and structural characteristics of the two are inseparable combination of foundation.