“传统”与“创新”的相对性——基于当代蒙古族“新民族音乐”组合多样化马头琴定弦的探讨  

Tradition Meets Innovation:A Study on Morin Khuur Tuning in the Context of Mongolian'New Ethnic Music

作　　者：侯燕 Hou Yan

机构地区：[1]内蒙古艺术学院音乐学院

出　　处：《中国音乐》2024年第1期91-98,共8页Chinese Music

基　　金：2018年度国家社会科学基金项目“当代蒙古族新民族音乐组合对优秀传统文化创造性转化研究”(项目编号:18BMZ088)的阶段成果。

摘　　要：21世纪以来,“新民族音乐”这一新兴艺术形式对传统音乐的创新和发展,在学术界所引发的评价和争议可谓众说纷绘,并呈现出一种初期观察多于关注,到当下给予高度支持和赞誉的发展态势的转变。本文分析与阐述了丰富多元的蒙古族传统马尾胡琴类乐器在当代的发展中,既有向现代马头琴“同一化”演进的趋向,又有在蒙古族“新民族音乐”组合的艺术实践中,通过马头琴多样化定弦的选择回归传统的趋向。本文认为,“传统”作为一条延传的“时间链”,不应被本质主义二值逻辑的观念切割成“传统”与“现代”、“传承”与“创新”的对立概念,如果依据不同的时间尺度衡量,“传统”与“创新”具有相对性。The advent of the 21st century has heralded a period of considerable evolution for traditional music within the framework of'new ethnic music',sparking diverse assessments and debates within academic circles.This field has witnessed a progression from mere observation to avid support and commendation.This paper examines the intricate variations and contemporary developments of the traditional Mongolian horsehead fiddle,the Morin Khuur,illustrating trends towards both standardization in modern iterations and a revivalist approach to traditional tunings in the practice of Mongolian'new ethnic music'.The study challenges the dichotomy often drawn between'tradition'and'modernity',"heritage'and'innovation',advocating for a view of'tradition'as a continuum rather than a binary opposition.Through an analysis across different temporal contexts,it is posited that'tradition'and'innovation'exhibit a relative,rather than absolute,relationship.

关 键 词：传统 创新 “新民族音乐” 马头琴定弦 相对性 

分 类 号：J607[艺术—音乐]