论后现代人类学语境下的当代民族音乐学学术转型路径  

The Academic Transformation Path of Contemporary Ethnomusicology in the Context of Postmodern Anthropology

作　　者：杨民康[1,2] Yang Minkang

机构地区：[1]中国音乐学院 [2]中央音乐学院

出　　处：《中国音乐》2023年第5期5-15,33,共12页Chinese Music

摘　　要：当前国内一个具有后现代音乐理论特点的重要讨论话题,是从哲学、美学的角度谈论“音乐的本质”是艺术性、本真性的,还是具有其他多样性、多义性(例如文化)、多层性的可解释途径。以梅里亚姆、赖斯等人为代表的现代民族音乐学,先后采纳了学术上有较深承继关系的博厄斯人类学多元文化观和后现代建设论音乐观,在以较宽容、理性的态度来处理和面对各种音乐文化危机现象的同时,还一定程度削弱、化解了由彻底、极端的后现代怀疑论所带来的某些尖锐矛盾问题。中国民族音乐学学者在对之进行反思、批评的同时,也在有效地学习、研究和借鉴,以挖掘、开拓自己的后现代学术发展道路。An important approach in contemporary domestic discourse characterized by postmodern music theory is the discussion of the "essence of music" from philosophical and aesthetic perspectives.This discourse explores whether the essence of music lies in its artistic and authentic qualities or in its diverse and polysemous nature,such as cultural and multi-layered interpretive approaches.Modern ethnomusicology represented by scholars like Merriam and Rice has incorporated the Boasian anthropological perspective of multiculturalism and the postmodern constructivist view of music.By adopting a more tolerant and rational attitude towards various crises in music culture,this approach has to some extent mitigated and resolved certain sharp contradictions arising from radical and extreme postmodern skepticism.Chinese ethnomusicologists,while reflecting on and criticizing this approach,have also effectively engaged in learning,researching,and drawing inspiration from it in order to explore and develop their own paths of postmodern academic development.

关 键 词：民族音乐学 后现代理论 怀疑论 建设论 上下文语境 

分 类 号：J607[艺术—音乐]