Disk Soure Of The Yanbian Korean "south Road" Heritage

The research context in the thesis was the transmission of story singing Namdo Pansori in Yanbian Chaoxian Autonomous Prefecture of China ( Namdo Pansori for short), and I selected three person who was tutor-tutee relationship in three generation, they are Piaozhenlie,Jiangxinzi and Bianyinghua, starting from the transmission and experiences in the three generation to briefly view that how the traditional music came from folklore to academy, and the whole process of its transmission and mingling into the society. Further, I discussed and analyzed the transformation of the transmission pattern of Namdo Pansori.Pansori was original from Jeonju City in the southwestern of South Korea in 17^th century. In early 20^th century, Pansori was brought into China with lots of Korean immigrants pouring into China, and the art was rooted in the three provinces in China -Jilin, Heilongjiang and Liaoning, where gathered the most Chaoxian nationality in China. Soon, Pansori became a kind of Chinese minority folk art performance. In Yanbian, China, Pansori owned its particularity influenced by the history and the natural and human environments. Therefore, the insiders called this art which was from southern Korea Peninsula Namdo Pansori, so Yanbian Pansori and South Korean Pansori had great differences in identification, category, vocal notion,the way of transmission and performance pattern. But in precursors' researches, there was a trend that the two arts were viewed as the same art. Based on the field work, I mainly discuss the characteristics and the transmission pattern of Namdo Pansori in Yanbian.At the same time, because Pansori was an art form existing in the cross-border nationality and it was stemmed from South Korea, so though the focus in the thesis was the Yanbian Pansori, I also took South Korea Pansori as a reference, to give prominence to the change and not-change factors in Yanbian Namdo Pansori's development as well as finding out the deep cause which influenced the transmission pattern of Yanbian Pansori. Besides, via my field work, I found that it was still blank in the study of the transmission of Yanbian Chaoxian Namdo Pansori, so the topic and discussion in the thesis would fill the academic blank.The thesis can be divided into four parts:In the first part, before I analyzed the transmission pattern of Namdo Pansori, I gave a brief introduction of the name and history of Pansori and the musical forms relevant to Pansori, so it was a foreshadow part in the thesis.In the second chapter, I took South Korea Pansori as a reference ,stating and analyzing the art features of Yanbian Namdo Pansori from three aspects—literature themes, music characteristic and performing patterns. The aim of discussion in the chapter was to stipulate the change and not-change factors during early 20^th century.In the third chapter, I took the three inheritors mentioned above as case study, discussing the process of transmission pattern and the exchange of it in the half century's society development. Therefore, I emphasized how the individual behavior influenced the transmission pattern.In the fourth chapter ,based on the expression of "transmission" in New Grove Dictionary of Music. Considering the particularity of the study of Chinese minority music and combining with my field work and practical situation, I analyzed the transmission and exchange of Yanbian Pansori from three levels--system dimention,technology dimention and ideology dimention. I would like to further certify the transformation of Yanbian "Pansori" in transmission pattern via considering the change of state regime, the multiple of spread media and the alteration of vocal ideology.