摘要
笔者通过对比浙江省奉化市文化部门与当地民间艺人关于奉化的吹打乐命名的差异,将其还原到生存的环境之一——祭祖仪式中,观察吹打乐在仪式过程中所呈现的乐人、乐用的交错变化,并根据围绕奉化市上汪村祭祖仪式中吹打乐的田野资料,梳理"奉化吹打"的历史发展脉络,对其名称的内涵进行辨析。
Through a comparison between the different definitions about Fenghua ＂Chui-Da＂ music（a kind of wind and percussion music popular in Fenghua area in Zhejiang） by some cultural departments in Fenghua of Zhejiang and by folk artists,the author studies it in its original existential environment by observing the player,the changes of music instruments in the process of ancestor worship ceremony.Revolving around the on-the-spot materials about Chui-Da music in the ancestor worship ceremony in Shangwang village of Fenghua,the author summarizes the historical development of Fenghua Chui-Da and makes a detailed study about the connotation of Chui-Da.
出处
《内蒙古师范大学学报（哲学社会科学版）》
2010年第6期134-139,共6页
Journal of Inner Mongolia Normal University：Philosophy and Social Sciences Edition
基金
上海市高校人文社会科学重点研究基地.上海音乐学院"中国仪式音乐研究中心"经费资助
关键词
奉化吹打
祭祖仪式
仪式音乐
民族音乐学
Fenghua Chui-Da
worship ceremony
ceremonial music
national music science
