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作 者:郭威[1]
出 处:《民族艺术研究》2016年第5期75-81,共7页Ethnic Art Studies
基 金:国家哲学社会科学基金艺术学项目“当下传统音声形态中的‘曲子’积淀研究”(编号14CD113);北京市社会科学基金研究基地重点项目“京畿汉族民间宗教宣卷音乐文化的考察与研究”(编号16JDYTA012)阶段成果~~
摘 要:中国音乐文化史的研究具有典型的特征,并且这些特征也同时表明了一种研究趋向和维度:"系统论"说明中国音乐文化史研究始终以"整体"观照"中国音乐",无论是宏观论述,还是微观研究,都注意从"整体"出发并最终回到"整体";"发生论"说明把握一种事物的当下存在,首先应溯其本源以及生成的相关社会环境,然后探究其演化脉络;"正统论"提醒音乐史、少数民族音乐研究应当充分关注"少数民族政权"如何对"礼乐"进行继承与扩充。文章指出:研究音乐本体,是音乐学的基本任务和首要任务。以"音乐文化"之名进行研究,绝不是要"去‘音乐本体’化",而是在完成这个"基本""首要"任务的同时充分注意到:音乐是人的创造、承载、传播,而不只是音响、器物、数字;"音乐文化"是一个整体,研究不应只做"分割"与"抽取",还应回到整体;音乐本体分析要与历史学、社会学、人类学等学科方法相结合。The study of the history of Chinese music culture has its own typical characteristics, and these char- acteristics imply the trend and dimensions of research. The "systems science theory" holds that the study of the history of Chinese music culture should always deal with Chinese culture with a comprehensive view in terms of macro discussion as well as micro research. The "phylogenetic theory" suggests that we grasp the im- mediate existence of a thing, trace its origins and corresponding social environment, and then explore its path of development. "Orthodox theory" reminds us to that how to inherit and develop "rites and music" pay attention to "the history of minority music", and realize is an issue that both the study of the history of Chinese mu- sic culture and the study of minority music should pay special attention to. Besides these three research ap- proaches, the paper also points out that to study the music itself is the basic and primary task of musicology. To study the music culture does not mean we can ever ignore the noumenon of music. Instead, we should be fully aware that it is human that create, enjoy and spread music, and that music is not just sound, notes and instruments; we should not just break up the whole into parts, hut also go back to the whole; we should combine the analysis of the music itself with historical studies, sociology, and anthropology.
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