从乐谱分析到以表演为中心的研究范式转型:基于中国学者音乐表演民族志的分析与研究  

On the Paradigmatic Shift from Musical Score Analysis to Performance-focused Research:Analysis and Research Based on Chinese Scholars’Music Performance Ethnography

作　　者：余媛 赵书峰 Yu Yuan;Zhao Shufeng

机构地区：[1]湖南师范大学音乐学院,湖南长沙410081

出　　处：《艺术探索》2022年第1期81-91,共11页Arts Exploration

基　　金：国家社科基金冷门绝学研究专项项目(20VJXG022)。

摘　　要：当下的中国音乐表演民族志研究实现了从乐谱分析到以表演为中心的研究范式转型:其一,早期的音乐表演民族志研究通常关注以音乐的“律、调、谱、器”为主的静态文本分析;其二,当下研究逐渐关注不同表演语境中动态的音乐表演文本的生产过程,观照“去语境化”“再语境化”以及表演前、表演中、表演后每个发展阶段音乐表演文本的不同特点;其三,研究同时还强调音乐表演文本生成的互文性特征,即音乐的制造者(可写性文本)与阐释者(可读性文本)都是音乐文本的生产者。The article is based on the sorting and summarizing of Chinese scholars’ethnographic research literature on music performance,as well as on the analysis and research based on field experience.At this point,the following conclusions can be drawn:current Chinese musical ethnographic research is changing from the analysis of musical scores to a research paradigm centered on performance.This shift presents the following three basic characteristics.First,it usually focuses on static text analysis of"temperament,key,score,instrument"in music.Second,it focuses on the production process of dynamic music performance texts in different performance contexts,observes"de-contextualization"and"re-contextualization",as well as different characteristics of music performance texts in each development stage(i.e.,before,during,and after performances).Thirdly,it emphasizes the intertextual characteristics of the generation of music performance texts.That is,producers and interpreters of music are both producers of music texts—i.e.,the"writable text"produced by the performer and the"interpretive text"(or"readable text")constructed by music audiences and critics—,which reveals the surface and deep problems of the musical phenomenon.

关 键 词：音乐表演民族志 语境 可读性文本 可写性文本 

分 类 号：J607[艺术—音乐]