未褪色的金碧輝煌

未褪色的金碧輝煌

2021/09/07
2022/05/06
緬甸古典音樂的近代發展與多元再現
展覽頁面呈現形式
橫式
時間軸
緬甸樂舞簡史
後殖民的當代緬甸歷史
展覽封面
88dfabb8352bb88b97ca4291285fa93d
展覽資料
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href=\"https://openmuseum.tw/muse/exhibition/ee48dd2ec87ec822adefbb8b7989bb88\">緬甸獨立後的國族音樂</a><br><br>二十世紀前半葉,緬甸為了保存帝國瓦解之前所創作的宮廷歌曲,以及瓦解之後依據宮廷音樂特質所新創的古典歌曲,而將這些作品採集收錄,編纂成《大瑪哈》(Mahagita)古典歌曲集,Mahagita即是梵文的「偉大的音樂」之意。這本歌曲集成為日後藝術學校與民間的中央標準化基礎學習範本,也是現今「緬甸古典音樂」的基礎。二十世紀後,緬甸國家廣播電臺為了區分緬甸古典音樂與當時電臺播放的流行音樂,因而援引大瑪哈的緬文—「德欽基」—做為新的樂種名稱。日後,緬甸人民便逐漸以德欽基指稱「緬甸古典音樂」。<br><br>獨立後的緬甸,無論是民主政府或是軍政府,在國家治理的過程中,都試圖通過德欽基這一項國族樂種,創造緬甸在後殖民時期的「現代性」,當中包含了建構緬甸國族主義、強調貴族世系的正統與反抗西方霸權等多元的面向。 <br></div>", "musicName": "無", "weight": 20, "musicText": "", "musicURL": "" }, "basic-1wmfuiojhq": { "id": "basic-1wmfuiojhq", "type": "basic", "sortable": true, "primaryObj": { "oid": "4849d56a4c5a105a144e62cf88ca6865", "fileType": "image", "fileURI": "https://openmuseum.tw/files/muse_portal/muse_styles/w1024/mcode/42813fab8ceae539b021d9a8bacdb935.jpg?itok=5-L03sgk", "level": "primary", "title": "木簡繪本:偉大皇塞恩進獻舞蹈(19世紀)", "desc": "木簡繪本", "thumbURI": 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hsaing),是德稟時期以來的緬甸音樂傳習特色,也是傳統上學習緬甸器樂最基本的方式。pazat的意思是嘴,hsaing則從原意「吊掛或吊掛的鼓」引申為音樂之意。因此把薩塞恩便是指由嘴巴發出的音樂,也譯為「口訣擬樂」。傳統音樂家利用聽、看、學三種方式,在音樂學習過程使用口訣擬樂。此外,彈奏者也在個人即興創作時活用,更可以透過聆聽,辨別出他人的變奏擬聲,再運用在自己的彈奏上。<br><br>然而,緬甸音樂家的技法多透過緊密的師徒制傳承,不輕易外傳。面對西方與政府影響下趨向商業化的環境,緬甸傳統音樂的新生代傾向速成學習,不再如以往事師如父。也因此,傳統音樂的特殊技巧、花式變奏,往往被大師們攜帶入土也不願意公開。整體傳習上相對保守,許多精彩豐富的緬甸音樂聲響,在商業化帶來的社會和文化變遷中逐漸散佚。<br><br>◎ 影音為兩位國寶級緬甸音樂家 Ma Hlaing Than Tun 及其大弟子Myo Hein Oo於臺大雅頌坊的示範演出(2015/09/16)", "musicName": "無", "weight": 22, "musicText": "", "musicURL": "" }, "embed_html-sya265a631": { "id": "embed_html-sya265a631", "type": "embed_html", "sortable": true, "weight": 23, "embed_html": "<div class=\"blank-horizontal\">\n<iframe id=\"muse-curation-iframe\" src=\"https://openmuseum.tw/embed/anotation/119781\" frameborder=\"0\" scrolling=\"no\" width=\"100%\" height=\"800px\"></iframe>\n</div>" }, "basic-0z5l0y2yr2": { "id": "basic-0z5l0y2yr2", "type": "basic", "sortable": true, "primaryObj": { "oid": "1efc215ff7ad81f436c745b809367e4e", "fileType": 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