后现代思想与音乐人类学(上)  

Post-modernistic Thinking and Musical Anthropology

作　　者：宋瑾[1] 

机构地区：[1]中央音乐学院音乐学系,北京100031

出　　处：《南京艺术学院学报（音乐与表演版）》2011年第2期1-7,177,共7页Journal of Nanjing Arts Institute:Music & Performance

摘　　要：当今音乐人类学大量吸取后现代思想,反对传统本质主义的音乐观,以全球音乐文化为视域,将世界各民族、各地区、各阶层的音乐文化都纳入"音乐"范畴。其中又以后殖民批评为武器,反对西方中心主义,强调多元文化价值,提倡差异主体的多样性文化身份。借鉴后现代主义"不确定性"的真理观,为学科自身的发展拓展了可能,也使之面临学科边界模糊等问题。而在充分体现后现代性的全球化过程中,社会环境、研究者和被研究者以及音乐文化自身,都深受原始民族性逐渐消失的中性化的影响,这些影响也体现在音乐人类学的研究中。The contemporary musical anthropology absorbs intensively the elements from post-modernistic principles.It opposes the traditional essential doctrine of music and,with a global scope,incorporates music of different nationalities,social classes,and areas from the world into the 'category' of music.It also borrows the post-colonial criticism as its ammunition in carrying out the mission of combating the 'western centralism' while emphasizing the value of multiculturalism.The 'indefiniteness' of the post-modernism facilitates the development of the contemporary musical anthropology and makes its 'academic identity' less clear at the same time.In the process of globalization the social environment,the researchers and those who are being researched,and the musical culture itself are deeply affected by the gradual disappearance of primitive national characters.

关 键 词：后现代主义 音乐人类学 多元音乐文化 差异 文化身份 中性化 不确定性 

分 类 号：J601[艺术—音乐]