Research on Tibet Reba music culture

Date of publication:2011-5   Press: Central Conservatory of Music press   Author:Wang Hua   Pages´╝Ü260  

"Research" Tibet Reba music culture is the Reba art activities in Tibet area of Changdu national music science research. Reba is a Tibet Rangers family performers, including drum Bell Dance, acrobatics, drama, comic and small Xianzi dance etc.. It takes the family as the main way of inheritance, performing skill level and a higher degree of occupation, is a kind of many forms of art, as one of the civil war. The artist wandering, Reba spread widely, the family is scattered, the middle of the twentieth Century, Tibet mainly concentrated in the eastern region of Changdu. I have three times to Changdu area counties to do fieldwork, get rich information on the one hand, on the basis of the research on Reba music culture work. First of all, the origin problem for Reba activities, the author thinks that can be traced back to Tibet the Tubo Period, especially Buddhism into Tibet, the establishment of Tibet's first temple monastery, for the formation of Tibet culture has a special significance. According to the records and legends of the Samye monastery, as well as Tibet archaeological research results of rock paintings, "" Tibet Reba music culture origin of Reba activities made a demonstration analysis. Through the study of the Buddhist karma Kagyu faction master Milarepa biography, song sets such as literature, the folk "Milarepa is Reba founder" the legend of logical inference, ultimately concluded that the direct creator of Milarepa not Reba, direct the creation of Reba is Tibet the bottom of society wandering beggar. After sorting out and analyzing examples of modern Reba family case activities, the author conducted a study on morphological traits, Reba music religious and social cultural background.
Author brief introduction

Wang Hua, Han, Central Conservatory of Music, vice president of musicology, Minzu University of China School of music. Project: the national "985 Project" funded project "Chinese Tibet Reba dance music research" (independent) major projects of "national Ministry of culture of Tibetan music research" (cooperation) "eleven five" national planning materials project "an introduction to music China minority" (independent) of national "fifteen" and "211" project "Chinese minority national music database construction" (independent) the national "985 Project" key "China minority art education reform research" (cooperation) representative works: "China minority chorus", "Chinese minority introduction to music", "Inner Mongolia Horqin shamanistic practices and Andai dance study", "Shaman adjustable structure", "on the art of" intangible cultural heritage "protection consciousness", "construction of the religious interpretation of" Reba etc.. Academic activities: many times to USA, France, Czech, Belgium, Holland, South Korea, Taiwan and other places to participate in academic conferences and published papers. Many times to more than 30 ethnic minorities live in Tibet, Guizhou, Yunnan, Ningxia, Gansu, Sichuan, Xinjiang, Inner Mongolia provinces in the field investigation and research, the accumulation of a large number of first-hand data and rich research experience. As the University Curriculum: "Chinese introduction to traditional music", "Chinese minority music", "Introduction to music theory", "field work" theory and method etc..
Catalogue of books

Chapter 1 introduction of Reba basic form overview of Reba defined section second of Title third section of Reba Reba distribution and classification, flow area, flow of two national three, flow region in the four religious, "cultural circle" of the flow state five, Reba classification second chapter Reba's history section of Bartonella with the temple, the Samye monastery a legend and recorded two, Reba shape and element chain analysis section second Reba and Milarepa relationship, Milarepa's life two, geography and clan relationship, and Mira, age three, song and dance records four, Milarepa and dance five, Milarepa ascetic practices six, Reba the third section and Milarepa belief Reba instruments and wandering the third chapter Reba activities case first winter proof Luo (Kang Sha) Reba family, lineage two, activity status three, show the contents of second day observation Gazi Du Qiong Reba team, inheritance, veins two, three, third activities in the performance section Woltorge Ba family fourth day zhag'yab sang Ding Reba family this chapter fourth chapter heat Bayin sound form the first heat and sound characteristics and the definition of Divided into second sections of sound, voice, a two sound third music morphology analysis, rhythm characteristics, summary two, pitch, melody structure characteristics of the three character verse fourth says, libretto rhyme, performance form content two, rhyme and rhetoric of the summary of this chapter
Chapter excerpt

To sum up, the horizontal cross rhythm is the most prominent Reba elements of music, which is the most basic technique of expression. The first part of the section and the dance of the ancient drum bell dance form, the core drum rhythm has a bell on the technique of expression. Recitation and singing rhythm has been unified under the bell drum rhythm, with pulsating drum rhythm of. From the drum and Bell Dance part, its music dance as the main form, the perspective of Reba dance performance of character. Lateral rhythmic drums Bell Dance is a fixed drum repeatedly, these drums is the historical influences the results, is the essence of the rhythm of Reba artists to create. Rhythm drums concentration generally has two beats or at most ten beat around the length, each performance is to use the same set of the rhythm of drums form dance rhythm. Each dance a drum the sleeve, or a knock, knock knock or three, or five, or nine knock. Concise drums constantly repeated, by virtue of speed change, dance dance mood changes and other practices, orderly, stylized as dance. According to the different drummer, artists show different rhythm style, each other organically linked series of dance. To drum Bell Dance in the rhythm of the rhythm is very distinctive, not only rich style, but also a certain relationship with boll forming drum rhythm. Compared with the drum and Bell Dance, Xianzi dance is a dance form stronger melody. Artists playing harp and dance at the same time, join the singing. The whole activity, song, dance, music in the same important position, each other very independent, mutual echo, contrast. The relationship between the drum and Bell Dance part song, dance, music is different. Drum Bell Dance part of chanting, singing is clearly weaker position, it is the need for more cultural function of ritual activities, and encouraging.To show. For example, the words of the blessing and worship. Xianzi dance song singing art form of strong. Xianzi dance rhythm is not fixed, but varied. Changes in the ups and downs of the lines and the dance, the dance rhythm has the harp singing music, and has the characteristics of dance dance music.
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