摘 要
满族的历史源远流长，作为曾在中国历史上建立政权统治的民族，较之我国其他少数民族而言，满族的民族文化历史更为悠久，内涵更为丰富。历史上的满族先民生活在我国北方广袤的土地上，他们保持着典型游牧民族的生活传统，逐水草而居，历经着农业生产与渔猎围捕的朴实生活。独特的自然和地理环境铸就了满族人民豪放热烈的民族性格特点，他们极富创造力，注重交流和共融，勇敢智慧，能歌善舞。
生活在原始时期的满族先民信仰萨满教。萨满神话，萨满神歌神舞，萨满乐器等不仅仅体现出萨满教作为原始宗教的信仰概念，也代表了一种民族文化的和谐理念，神秘而古老的萨满信仰渗透到满族文学，艺术，历史及日常生活的方方面面。尽管满族萨满信仰仪式在当今的日常生活中实为难遇，但我们仍然能从满族民族风俗，满族民俗文学，满族歌舞艺术中感受到萨满信仰传递出的文化信息。
满族人创造了自己的民族语言和文字，为满族文化的创作和传播提供了保障，也影响了满文歌谣，满文歌曲的创作。满族歌舞承袭和传递出的民族文化价值是人们认识满族文化，了解满族生活的视听结合的认知途径。满族歌舞来源于生活，反映的主题也是和生活息息相关。满族歌舞分为祭祀用的萨满歌舞和庆祝性的民俗歌舞。原始宗教性质的巫乐巫舞中的祭神祈福主题是满族歌舞承袭萨满文化的重要特点，满族歌舞的表演褪去了萨满信仰的迷信色彩，将民族的传统宗教生活场面带入人们的视线之中，是歌舞艺术对于宗教文化的传承，也是二者的融合。
在满族歌舞与萨满文化的传播共识方面，满族歌舞在城市的观光审美功能是结合本人家乡满族文化活动的生活体会撰写而成，满族歌舞在现代城市的流传，是传统与现代的结合。现代的满族歌舞演出中关于萨满祭祀场景的表演是歌舞之于萨满宗教文化的共识和艺术再现。
满族萨满文化百科全书式的文学着作《尼山萨满传》讲述了女萨满受人请求找回满族少年灵魂并拯救其生命的传奇故事。体现的是萨满文化跨族域传播的文化共识；尼山萨满的唱词部分体现了满语歌词写作的特点；《尼山萨满传》故事中的女性角色思考是论文的创新点之一。
满族歌舞在当今传播视角下的思考是本篇论文的第二个创新点，在满语即将失传的今天，满族歌舞是宗教，文学，艺术等多方面的集合，其流传关乎着满族民族文化的继承和弘扬。满族歌舞应该怎样保持其独特的民族艺术特色，应该借鉴什么样的音乐传播模式决定了满族歌舞的传播归向。
关键词：满族歌舞；萨满文化；萨满音乐传播
Abstract
Manchu, an ethnic group, built the political power in China and had such a longhistory. Comparing with other ethnic minority nationalities, Manchu culture has muchlonger history and deeper cultural intension. The ancestors of the Manchu race livedin the vast northern land, where there is water and grass, kept their typical nomadictradition, and experienced farm producing, fishing and hunting livelihood. The uniquenatural and geographical environment is the result of Manchu personalities, they areinnovative, placing emphasis on communication and fusion, brave, intelligent, andbeing good at singing and dancing as well.
The ancestors of the Manchu race living in the primitive period believed inShamanism as their original religion. Shaman fairytales, songs and dances, andmusical instrument not only embody the religion belief, but also represent aharmonious philosophy in the ethnic national culture. Shaman belief is ancient andmysterious. It has infiltrated Manchu literature, art, history and every aspect in thedaily life. Although the ceremonies of Manchu Shamanism are really rare, we can stillget the cultural information spread by Shaman belief through Manchu custom, folkliterature, and Manchu art of singing and dancing.
Manchu created their own language and characters, so they provided security forthe appearance and spread of Manchu culture, and also had influence on the creationof Manchu chant and songs. Manchu songs and dances have inherited and spread thevalue of ethnic national culture, which are the cognitive ways of visual and auditorycombination to know Manchu culture and understand their lives. The songs anddances originate from life and the reflected theme is also closely related to life. Theycan be divided into Shaman songs and dances which are for sacrificial ceremonies aswell as folk ones for celebrations. In witch songs and dances within original religion,the theme of worshipping and praying for blessings is the important character forManchu songs and dances to inherit Shaman culture. The performances of Manchusongs and dances get rid of the Shaman superstitions, and bring traditional religionlife into peoples' sight, which are the heritage and integration of singing and dancingart to religion culture.
As for the transmissions of both Manchu songs & dances and Shaman culture,especially the sightseeing and aesthetic functions of Manchu songs & dances in thecities, Is written in accordance with the writer's hometown Manchu cultural activities.
The diffusion of Manchu songs & dances in modern cities is the combination oftradition and modernity. The Shaman sacrifice scenes in the modern Manchu songs &dances can be regarded as the artistic reproduction of Shaman religious culture insongs & dances.
The encyclopedic Shaman literary work Nishan Shaman Legend illustrates thestory of a female Shaman, who was entrusted to recollect the soul of a Manchujuvenile and saved his life. The work indicates the transnational diffusion of Shamanculture. Nishan Shaman's libretto embodies the lyrical features of the Manchu songs.
The consideration over the female character in Nishan Shaman Legend is aninnovative point of the thesis.
The second innovation of the thesis lies in the modern diffusion of Manchu songsand dances. It is well known that the Manchu language is dying out. As an integrity ofreligion, culture and art, the diffusion of Manchu songs and dances determines thecontinuation and carrying forward of Manchu culture. The diffusion orientation ofManchu songs and dances is dependent on how they keep their unique ethical artisticcharacteristics, and in the meanwhile, on the musical diffusion mode they refer to.
Keywords:Manchu songs & dances, Shaman culture, Shaman music diffusion
目 录
第 1 章 引言
1.1 选题意义
1.2 研究思路
1.3 研究现状
1.4 文献阅读综述报告
1.4.1 着作
1.4.2 期刊论文
第 2 章 满族历史与歌舞呈现
2.1 满族部落与政权归统
2.2 满族民俗礼仪文化与歌舞现象
2.2.1 满语满文的溯源与说唱音乐
2.2.2 日常生活与信仰中的歌舞体现
2.2.3 等级式的满族礼仪与歌舞
第 3 章 满族歌舞与萨满文化之价值理念
3.1 满族歌舞与萨满文化
3.1.1 萨满神话与歌舞对话
3.1.2 萨满女神与女性主义
3.2 萨满文化价值理念
3.2.1 萨满的神性信仰与歌舞体现
3.2.1.1 自然神祗的信仰
3.2.1.2 图腾柱与图腾神祗的信仰
3.2.1.3 火崇拜
3.2.1.4 大地和水源的崇拜
3.2.1.5 祖先崇拜
3.2.2 多神崇拜与自然和谐
3.2.3 萨满跳神
3.2.4 萨满神歌
3.2.5 萨满乐器
3.3 满族歌舞与其文化特质
3.3.1 满族歌舞
3.3.2 满族歌舞文化特质
第 4 章 满族歌舞与萨满文化的传播共识
4.1 传统功能的现代传遗
4.2 满族歌舞对于萨满文化的共识及艺术再现
第 5 章 满族歌舞与萨满文化的传播发展思考
5.1 《尼山萨满传》的跨族域传播思考
5.1.1 《尼山萨满传》故事梗概
5.1.2 尼山萨满故事的跨族域流传
5.1.3 《尼山萨满传》意义新考
5.1.3.1 尼山萨满与中国古代封建女性角色
5.1.2.2 《尼山萨满传》中萨满神歌与满族歌舞
5.2 满族歌舞在当今传播视角下的思考
5.2.1 综合分析
5.2.2 传播思考
结 论
参考文献
致 谢
