民族音乐学视野下的“飞地文化”--海门山歌及其展衍的社会发生源与认同维度  

The"Enclave Culture"in Ethnomusicology--Social Origin and Identity Dimension of Haimen Folk Songs and Their Development

作　　者：钱建明[1] Qian Jianming

机构地区：[1]南京艺术学院学报编辑部,江苏南京210013

出　　处：《南京艺术学院学报（音乐与表演版）》2021年第4期49-61,I0002,共14页Journal of Nanjing Arts Institute:Music & Performance

基　　金：2019江苏省海门市海门山歌艺术剧院高质量发展规划项目阶段性成果。

摘　　要：海门山歌作为一种文化样式,缘起于长江下游河口段北岸部分吴语系移民的相关社会行为。其源头则可上溯至“六朝四学”返照的“子夜吴歌”及其多样性人文景观。无论是先期自各地迁徙至海门一带的通东人,抑或是后来跨江北上的江南移民,人们通过“海门山歌”之社会发生源与认同维度,融汇于“江海平原”的历史与现实,早已殊途同归,伯仲难分。Haimen Folk Songs originated from the related social behaviors and cultural patterns of some Wu Dialect System immigrants on the north bank of the lower reaches of the Yangtze River,and its source can be traced back to the"Midnight Wu Songs"and its diverse cultural landscape reflected by the"Liu Chao Si Xue".Whether it is the Tongdong people who migrated from various places to Haimen in the early stage,or the Jiangnan migrants who later crossed the Yangtze River to the north,people merge into the history and reality of the"Jianghai Plain"through the social origin and identity dimension of the"Haimen Folk Song".It's hard to tell the difference between different routes.

关 键 词：海门山歌 飞地文化 田歌叙事 离散人群 

分 类 号：J607[艺术—音乐]