藏彝走廊多民族音乐交流交融下的文化共享与认同——以藏族扎木聂与彝族月琴为例  

Cultural Sharing and Cultural Identity in the Context of Exchange and Integration of Multi-Ethnic Music in the Tibetan-Yi Corridor: Taking Zhamunie of the Tibetan People and Yueqin of the Yi People as a Case Study

作　　者：王昆普 叶子 Wang Kunpu;Ye Zi(Sichuan University,Chengdu,610065,Sichuan;Folk Music Department,Sichuan Conservatory of Music,Chengdu,Sichuan;Art Creation and Education Training Center,Sichuan Provincial Academy of Arts,Chengdu,Sichuan,China)

机构地区：[1]四川大学 [2]四川音乐学院民乐系,四川成都610065 [3]四川省艺术研究院艺术创作与教育培训中心,四川成都610044

出　　处：《民族学刊》2022年第11期118-125,154,共9页Journal of Ethnology

基　　金：四川省社科基金西南民族音乐研究中心资助项目“藏彝走廊民族音乐对族群文化认同的影响研究”(xnyy2020042);四川省哲学社会科学重点研究基地青藏高原经济社会与文化发展研究中心和西南民族大学中央高校基本科研业务费青藏高原经济社会与文化发展研究中心建设专项资助项目“扎木聂:汉藏交融下的民族音乐研究”(2020PTJS0907)阶段性成果。

摘　　要：藏彝走廊保存了极为丰富的多民族音乐资源。多民族音乐的产生和发展是历史上各民族长期交往交流交融的必然结果,呈现了“中华民族多元一体格局”的历史必然性和客观实在性。藏彝走廊多民族音乐以多样性、包容性、互动性、流动性等特质成为族群音乐文化的内核之一,呈现出族群、跨族群传播的音乐共享现象。极强的音乐传播力促进了族群之间的文化认同,以此成为各民族交流互动“美美与共”的文化纽带,作为共创共享的音乐文化,其发展蕴含着“你中有我,我中有你”的文化逻辑。藏族扎木聂与彝族月琴在藏彝走廊整个音乐文化中是具有代表性、标示性的弹拨乐器之一,在很大程度上促进了藏、彝民族文化认同,增强了族群心理共构关系,发挥了重要的精神调节功能。本文打破民族、地区、乐器、乐曲的藩篱,以中华民族音乐发展的历史视野和中华民族音乐交流交融的民族视野来研究藏彝走廊多民族音乐,这对提升民族音乐的发展力、感染力和传播力等都具有重要的启示性意义。The“Tibetan-Yi Corridor”has preserved rich multi-ethnic music and art resources.Music art,as an important crystal of multi-ethnic culture,appear to carry important historical information that is related to inter-ethnic exchange and communication,and therefore is seen as an important witness of cultural exchanges and mutual learning between different ethnic groups. At the same time,it also seems to substantiate the historical fact that Chinese culture has been created and shared by many different ethnic groups. In the“Tibetan-Yi Corridor ”, where different ethnic groups encounter each other,the mutual cultural penetration and absorption of various ethnic peoples presents a typical “compatibility and diversity”in culture,research shows. This also deeply affects the creation and development of music culture and art in this region. When multi-ethnic music culture and art communicate with each other and integrate,the phenomenon of unconscious or unintentional cultural development displays itself:For example,people living in the multi-ethnic“Tibetan-Yi Corridor”absorb the musical and cultural factors of other ethnic groups unconsciously and integrate them into their own daily life.Research data further suggests multi-ethnic music in the Tibetan-Yi Corridor has become one of the prime examples and a template of ethnic music culture marked by diversity,inclusiveness,interaction,and mobility,showing the phenomenon of trans-ethnic music sharing. It is worth noting that the Zhamunie of the Tibetan people and the Yueqin of the Yi ethnic group can be regarded as one of the most representative and symbolic plucked music types in the entire music culture of the “Tibetan-Yi Corridor ”. They have not only greatly promoted the cultural identity of the Tibetan people and the Yi people but also strengthened the relationship of ethnic psychological co-construction,and played an important spiritual adjustment function. Taking these two musical instruments as examples,this paper makes a further discussion on the cul

关 键 词：藏彝走廊多民族音乐 藏族扎木聂 彝族月琴 交流交融 

分 类 号：J607[艺术—音乐]