衍生、存续与主体性丧失的困窘——“非遗后时代”鄂伦春族传统音乐的“三化”现象  

The The Dilemmas of Derivation,Survival and Subjectivity Lost——Three Tendencies of Oroqen Traditional Music in the Post-Non-Heritage Era

作　　者：陈龙 Chen Long

机构地区：[1]哈尔滨音乐学院,哈尔滨150028

出　　处：《北方音乐》2024年第1期62-69,共8页Journal of the Northern Music

基　　金：2021年度教育部人文社会科学研究一般项目“黑龙江流域通古斯跨界民族音乐研究”(项目编号21YJA760033)阶段性成果;2022年黑龙江省教育科学“十四五”规划重点项目“黑龙江少数民族音乐高校传承策略研究”(项目编号GJB1422666)阶段性成果。

摘　　要：文章论述当代鄂伦春族传统音乐传承中的“经典化”“舞台化”和“传承人化”这“三化”现象。这种传承方式导致的结果,是一种缺失“主体性”表述的现代存续。而要真正实现其作为一种文化符号的传承,与作为文化资源的创新性发展与转化,应立足于其民族文化之本位,凸显自身内源性特征,在民族文化认同基础上,实现民族音乐文化的衍生、存续与主体性建构。The article discusses three tendencies, i. e., only classic be documented, perform aimed and inheritor dominated, in the transmission of contemporary Oroqen traditional music, which resulted a kind of modern survival which lacks the expression of subjectivity. In order to realize the inheritance both as a cultural symbol and its innovative development and transformation as a cultural resource, it should be based on its national culture, highlight its own endogenous characteristics, and realize the derivation, survival and subjectivity construction of national music culture on the basis of national cultural identity.

关 键 词：“非遗后时代” 鄂伦春族 民歌 “三化” 现象 

分 类 号：J607.22[艺术—音乐]