發(fā)布時(shí)間：2018-08-07 08:00

【摘要】：談到維吾爾族,談到維吾爾族歌舞,不由聯(lián)想到浩瀚沙漠,絲路古道下的民俗風(fēng)情,充滿了西域特色。新疆的木卡姆是維吾爾族人民的驕傲,是人類口頭非物質(zhì)文化遺產(chǎn)代表作。由于維吾爾族人民對(duì)歌舞的熱愛和執(zhí)著,使得維吾爾樂器制作不斷進(jìn)步和發(fā)展。可以說,假如沒有這些制作樂器的能工巧匠,那么就不會(huì)有精致的樂器和輝煌燦爛的維吾爾族音樂。近年對(duì)于新疆維吾爾族樂器造型及工藝裝飾研究,多見于人類學(xué)、民俗學(xué)、歷史學(xué)、音樂學(xué)等領(lǐng)域,而對(duì)于維吾爾族樂器的造型以及裝飾工藝研究尚待完善;筆者在充分咨詢多方意見后決定把喀什地區(qū)維吾爾族弦鳴樂器作為研究對(duì)象。筆者分別來到喀什市民族樂器一條街、作坊、樂器店鋪,疏附縣民族樂器村、樂器制作手工藝人家里,麥蓋提縣的民間傳承人家里、演出室,以及巴楚、莎車等樂器制作者和演奏者身邊進(jìn)行調(diào)研,細(xì)致對(duì)收集到的圖文、音視頻資料進(jìn)行整理分類,通過對(duì)每一件樂器的造型及裝飾工藝進(jìn)行剖析,找出喀什地區(qū)維吾爾樂器獨(dú)有的造型及裝飾魅力,希望能夠展示出喀什地區(qū)維吾爾族弦鳴樂器在多元文化的影響之下蘊(yùn)含的獨(dú)特魅力,給大家展示出別樣西域民俗,本文的研究對(duì)于了解喀什地區(qū)維吾爾族樂器,對(duì)新疆維吾爾族樂器工藝美術(shù)基礎(chǔ)研究具有寶貴意義。本論文以新疆喀什地區(qū)維吾爾族弦鳴樂器為例展開論述,全文主要從喀什地區(qū)維吾爾族弦鳴樂器相關(guān)文化背景、造型研究、裝飾特色、與其他地區(qū)同類樂器差異舉例及工藝傳承五個(gè)方面進(jìn)行探析。力求能夠呈現(xiàn)喀什地區(qū)特殊的維吾爾族樂器造型及裝飾工藝特色。本文的研究主要成果在于從美學(xué)的視角對(duì)喀什地區(qū)維吾爾族弦鳴樂器的基本構(gòu)成及裝飾紋樣進(jìn)行整理和分析,通過大量實(shí)景圖片和手繪表現(xiàn),真實(shí)呈現(xiàn)出維吾爾樂器整體樣式,同時(shí)找出其與不同地區(qū)同類樂器的差異。但是,由于維吾爾族樂器眾多,且地域分布廣泛零散,由于時(shí)間精力有限,不能夠全面收集整理到樂器種類特色,實(shí)屬遺憾。
[Abstract]:When it comes to the Uygur nationality and the Uygur people's singing and dancing, we can't help thinking of the vast desert and the folk customs under the ancient Silk Road, which are full of the western region's characteristics. Mukam of Xinjiang is the pride of Uygur people and the representative of human oral intangible cultural heritage. Because of Uygur people's love and persistence in singing and dancing, Uyghur musical instrument making progress and development. It can be said that if these instruments are not made skilled craftsmen, then there will not be fine instruments and brilliant Uygur music. In recent years, the research on the modeling and craft decoration of Uygur musical instruments in Xinjiang has been widely seen in the fields of anthropology, folklore, history, musicology, etc. After consulting various opinions, the author decided to study Uygur string musical instruments in Kashi area. The author went to a street, workshop, shop for musical instruments in Kashi City, Shufu County ethnic Musical instrument Village, Musical instrument making artisan's Home, the Folk inheritor's Home in Maigaiti County, the performance Room, and Bachu. Shakespeare and other instrument makers and players around the investigation, detailed collection of pictures, text, audio and video data sorting, through the modeling of each instrument and decorative technology analysis, To find out the unique modeling and decorative charm of Uygur musical instruments in Kashi region, hoping to show the unique charm of Uygur string musical instruments in Kashi area under the influence of multiculturalism, and to show everyone a different kind of folk customs in the Western region. The research in this paper is valuable to understand Uygur musical instruments in Kashi area and to study the basic arts and crafts of Uygur musical instruments in Xinjiang. This paper takes Uygur string musical instruments in Kashi area of Xinjiang as an example to discuss, mainly from the cultural background, modeling research and decorative features of Uygur string singing instruments in Kashi area. With other regions of the same musical instrument examples and technical heritage of five aspects to explore. Strive to present the Kashi special Uygur musical instrument modeling and decorative features. The main research results of this paper are to arrange and analyze the basic composition and decorative patterns of Uygur string musical instruments in Kashi area from the perspective of aesthetics. Through a large number of actual pictures and hand-painted performance, the Uygur musical instruments are truly presented as a whole. At the same time, find out the difference between it and the same musical instruments in different regions. However, due to the large number of Uygur musical instruments and the wide and scattered geographical distribution and limited time and energy, it is a pity that the Uygur musical instruments can not be collected and sorted out in an all-round way.
【學(xué)位授予單位】：新疆師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：TS953.2

【參考文獻(xiàn)】

相關(guān)期刊論文 前10條

1 夏凡;;絲綢之路宗教藝術(shù)視野下的新疆有品樂器研究[J];世界宗教文化;2016年03期

2 吳潔;;試論維吾爾族撥弦樂器熱瓦普的裝飾藝術(shù)[J];大眾文藝;2016年03期

3 王丹;;二十一世紀(jì)以來維吾爾族樂器研究述評(píng)[J];中國音樂;2015年01期

4 吳曉凌;王小冬;;論維吾爾族民間樂器的裝飾風(fēng)格和材料工藝[J];長春理工大學(xué)學(xué)報(bào);2013年02期

5 David Makofsky;趙楠;;現(xiàn)代人類學(xué)視野下的維吾爾族傳統(tǒng)手工藝文化研究[J];前沿;2012年11期

6 David Makofsky;王靜;;中國新疆維吾爾族樂器制作工藝[J];民族論壇;2012年10期

7 古麗扎爾·哈力克;;維吾爾樂器——胡西塔爾[J];大舞臺(tái);2011年07期

8 付璐;;中國民族樂器造型的美學(xué)研究[J];民族藝術(shù)研究;2010年04期

9 高星;;熱瓦甫的琴聲[J];中華手工;2010年05期

10 柘植元一;阿不都賽米·阿不都熱合曼;;卡龍?jiān)倏糩J];新疆藝術(shù)學(xué)院學(xué)報(bào);2007年01期

相關(guān)重要報(bào)紙文章 前2條

1 黃適遠(yuǎn);;彈撥爾：與琵琶同源的維吾爾古老樂器[N];中國民族報(bào);2010年

2 黃適遠(yuǎn);;維吾爾樂器“領(lǐng)袖”卡龍琴[N];中國民族報(bào);2010年

相關(guān)碩士學(xué)位論文 前6條

1 肖振新;新疆維吾爾薩塔爾研究[D];中央音樂學(xué)院;2016年

2 阿麗葉·吐爾迪;維吾爾族樂器都塔爾的制作工藝研究[D];新疆師范大學(xué);2013年

3 馬依拉·亞爾買買提;維吾爾族傳統(tǒng)紋飾圖案研究及基于構(gòu)圖規(guī)則的特征提取與分析[D];東華大學(xué);2013年

4 瓦熱斯.阿不力孜;“非遺”語境下的新疆維吾爾族民間樂器熱瓦普的傳承方式調(diào)查研究[D];新疆師范大學(xué);2011年

5 周娜;新疆維吾爾樂器數(shù)字化傳承研究[D];新疆師范大學(xué);2010年

6 李禮;新疆維吾爾族民族樂器音色庫的采樣與構(gòu)建[D];新疆師范大學(xué);2009年

，

本文編號(hào)：2169389