乐器学的研究到口述史的研究——京族独弦琴的研究综述及研究展望  

From the Study of Musical Instruments to the Study of Oral History——Summary and Research Prospects of the One-Stringed Qin of the Jing Ethnic Group

作　　者：黄羽 HUANG Yu

机构地区：[1]广西壮族自治区民族文化艺术研究院,广西南宁530023

出　　处：《艺术探索》2021年第4期111-116,共6页Arts Exploration

基　　金：2018年广西哲学社会科学研究课题“京族独弦琴传承人口述史研究”(18FMZ013)。

摘　　要：京族独弦琴的研究一向借助独弦琴的实物和图像等材料,对独弦琴的物质性层面给予了大量关注,传统的独弦琴研究以静态为主。21世纪初期,研究者将目光投向独弦琴的动态展现的表演研究,独弦琴的舞台呈现、乐曲创作的活态表演成为研究者关注的重点。随着多学科研究视角的介入,独弦琴的研究呈现了从乐器学视角到口述史视角的转向,实质上多是以独弦琴传承人、演奏者为主的活态表演的研究。今后的研究应更关注独弦琴历史进程中人与琴的互动,从独弦琴艺术亲历者的口述材料中,理解独弦琴“器—乐—人”的互动关系。The research of the Jing people's one-stringed qin has always paid great attention to its material nature with the help of material evidence and pictorial representations of the one-stringed qin.Research on this particular instrument is mostly static.In the early 21st century,researchers began to focus on the performance of the dynamic display of the qin.Stage presentation and live performance of musical creations have become a new focus for researchers.With the involvement of multi-disciplinary research perspectives,research on the one-stringed qin presents a shift from the perspective of instrumental science to the perspective of oral history.In essence,this transition is mainly represented by research on live performances by the inheritors and players of the one-stringed qin.It is expected that future research will pay more attention to the interaction between audiences and performers within the frame of the historical process,while further striving to understand the interactive“instrument—music—-human”relationship based on oral materials of solo performance experience.

关 键 词：京族 独弦琴 乐器学 口述史 乐器改良 

分 类 号：TS953.24[轻工技术与工程]