从跨文化的视角看丝绸之路上的中原音乐传播  

Transmission of the Central Plains Music along the Silk Road froma Cross-cultural Perspective

作　　者：林雪莲 LIN Xuelian(School of General Education,Fujian Chuanzheng Communications College,Fuzhou,Fujian Province 350007)

机构地区：[1]福建省船政交通职业学院通识教育学院,福建福州350007

出　　处：《楚雄师范学院学报》2023年第6期104-111,共8页Journal of Chuxiong Normal University

摘　　要：跨文化传播向来是双向度的,所指的是不同文化群体之间的交际互动。古代中原音乐在西渐的传播过程中,中亚的音乐也在持续东传,因此,这就导致作为文化主体的中原音乐在传播过程中势必接受影响与改造,而这种“影响与改造”是中原音乐主动有选择地接受的结果。河西地区是中国境内丝绸之路的中枢,这里汇集多民族文化。我们以敦煌曲子辞为研究中心,分析其特点,并比较来自中原的曲子辞与流传于中原曲子辞的差异,探讨中原音乐在西传过程中所受的影响与冲击,挖掘中原音乐接受这种影响与改造的文化心理,从而发现华胡文化交流的双向性与互动性,以及丝绸之路南北向、东西向的多向度路径。Mostly two-way,cross-cultural communication refers to the interaction between different cultural groups.While the music of the Central Plains,or the central heartland China as traditionally referred to as,spread westward,that of Central Asia spread eastward all the time.In this process,the music of the Central Plains was subject to continuous“influence and transformation”as a result of its choosing to accept exterior influence.The Hexi Corridor,a long passage in the mountains west of the Yellow River linking the Central Plains to the northwest of China and an important part of the Silk Road,is a convergence hub where multiple ethnic groups and their cultures meet.Taking Dunhuang Ci as the subject of research,the paper analyses its characteristics,compares the tune from the Central Plains and that circulating in the Central Plains,discusses the impact and shock on the music of Central Plains on its journey westward,and explores the cultural psychology of the music of the Central Plains to accept such influence and transformation so as to find out the two-way interaction of sino-Hu cultural exchange and the north-south and east-west multi-directional paths of the Silk Road.

关 键 词：丝绸之路 跨文化 中原音乐 传播 接受 

分 类 号：J609.2[艺术—音乐]