摘要
“花儿”是广泛流传于青海、甘肃等西北地区的民间歌曲。在长期的历史进程中,伴随各民族交往交流交融的不断深入,“花儿”逐渐发展为多民族共享的文化符号,也成为中华民族共同体意识形成历程的生动体现。从文化渊源与表现特征来看,“花儿”与藏族民间情歌“拉伊”之间存在密切的亲缘关系。二者在旋律结构、唱词形式、演唱方式及传播特征等方面均具有高度相似性。研究表明,“拉伊”作为藏族传统情歌,是“花儿”文化形态的重要源头之一,这一判断基于以下依据:其一,民间对二者的称谓具有同源性与语义一致性,如甘肃岷县地区称“花儿”为“hur”(■■),该词源自“拉伊”中的衬词“■■”;其二,二者在传统节日中的功能、时空选择及与民间信仰的关联高度一致;其三,“花儿”歌词中常见汉藏词汇混用现象,反映出语言层面的交融;其四,藏文古典音乐文献所载“伸腰展臂而起,手扶耳腮而歌”的演唱姿态,至今仍在“花儿”与“拉伊”的表演中延续。该文通过对“拉伊”与“花儿”音乐本体的比较,系统梳理二者的共通性及其内在逻辑,并综合运用历史学、人类学与比较研究方法,深入探讨“花儿”与“拉伊”的渊源流变与互动关系,旨在为铸牢中华民族共同体意识提供学理依据。
“Hua er”is a folk song widely spread in northwest regions such as Qinghai and Gansu.In the long-term historical process,with the continuous deepening of communication and integration among various ethnic groups,"Hua er"has gradually developed into a cultural symbol shared by multiple ethnic groups,and has also become a vivid embodiment of the formation process of the Chinese national community consciousness.From the perspective of cultural origins and expressive characteristics,there is a close kinship between“Hua er”and the Tibetan folk love song“La Gzhas”.The two have a high degree of similarity in melody structure,lyric form,singing style,and dissemination characteristics.Research has shown that“La Gzhas”,as a traditional Tibetan love song,is one of the important sources of the cultural form of“Hua er”.This judgment is based on the following basis:firstly,the folk names of the two have homology and semantic consistency.For example,in Min County area of Gansu Province,“Hua er”is called“hur”(■■),which originates from the complementary word“■■”in“La Gzhas”;Secondly,the functions,temporal and spatial choices,and associations with folk beliefs of the two are highly consistent in traditional festivals;Thirdly,the common phenomenon of mixing Chinese and Tibetan vocabulary in the lyrics of“Hua er”reflects the blending of language levels;Fourthly,the singing posture recorded in Tibetan classical music literature of“stretching out one’s waist and arms,holding hands on one’s ears and cheeks while singing”is still continued in the performances of“Hua er”and“La Gzhas”to this day.This article compares the music ontology of“La Gzhas”and“Hua er”,systematically sorts out their commonalities and internal logic,and comprehensively uses historical,anthropological,and comparative research methods to explore the origin,evolution,and interactive relationship between“Hua er”and“La Gzhas”,aiming to provide theoretical basis for forging a sense of community for the Chinese nation.
作者
尤拉太
YulLha Thar(School of Humanity in Xizang University,Lhasa,Xizang 850000)
出处
《青海民族大学学报(藏文版)》
2025年第3期103-116,共14页
Journal of qinghai minzu University(Tibetan Version)
基金
2022年度国家社科基金项目“藏族民间红色歌谣经典研究”(项目编号:22BZW188)阶段性成果。
