| Ma Yi Xian Gu belief is mainly spread in Sang village,Wenshui country,Shanxi Province.In the past,Sang village people will organize activities of praying Ma Yi Xian Gu for rain when it doesn' t rain for a long time.And then more and more villages join in and the number of villages from 1 to 14,the last a total of 24.It is said that every time they go to Shishi mountain of Fenyang country to take Xian Gu back,18 villages will come to meet such as Yue Cun Gua Zi,Qiao Tou Da Gu,Ma XI Nao,Pao Bao Zi,etc.It is Ma Yi Xian Gu faith provide those polk art performance activities the survival soil and tie.The reason why those performance still in the activity today when the praying for rain ceremony has disappeared is because the transformation of function.This paper use the temple fair of Ma Yi Xian Gu as the breakthrough point,the Ma Yi Xian Gu faith as the main line,all kinds of folk music activities which jion in"Welcoming Gugu" praying for rain ceremony as the main research object.After analyzing the music form the author also explain those symbolic significance and cultural function.This paper will be divided into five parts:Introduction part mainly introduced the selected topic reason and the significance,the research present situation and the trend of the subject,the research objectives,research contents,research methods,research techniques and so on.The first chapter mainly talk about the occurrence,severity,the reason and relief measures of drought in Shanxi Province.It is enough to prove that in Shanxi Province is one of areas with frequent droughts through the record of the books of the relevant historical records and meteorological disasters.It provides a strong argument to confirmed the truth that local praying for rain activities is very prosperous.The second chapter is a case study of Ma Yi Xian Gu faith.This part discussed the history and the people identity of Ma Yi Xian Gu,the distribution of temple.The third chapter's research object is those folk music which is associated with "Welcoming Gugu" activity,such as Yue Cun Gua Zi,Qiao Tou Da Gu,Ma X I Nao,Pao Bao Zi,etc.The author detailed analysis respectively from the origin,ma terial,performance form,music form,etc.The fourth chapter interpreted the culture of Ma Yi Xian Gu faith.There are two parts which named cultural symbol resolution and cultural function in this chapter.In addition,there are some pictures of the Ma Yi Xian Gu temple and temple fair and relevant inscriptional record and some scores of folk music which took and collected by author during the fieldwork. |
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