客家族群“新迁移”背景下非遗文化的“传统—现代”转型——以珠三角广东汉乐的在地化为例  

The Transformation of Intangible Cultural Heritages between “the Tradition and the Modernity” in Context of Hakka Ethnic Group’s “New Migration”:on the Localization of Han Music in Guangdong Province

作　　者：黄燕[1] HUANG Yan(Xinghai Conservatory of Music,Guangzhou,Guangdong 510006,China)

机构地区：[1]星海音乐学院,广东广州510006

出　　处：《贵州大学学报（艺术版）》2024年第3期85-97,共13页Journal of Guizhou University Art Edition

基　　金：2021年度广东高校重点建设学科科研能力提升项目“‘海上丝绸之路’视阈下的岭南音乐文化研究”(项目编号:2021ZDJS010)。

摘　　要：与大埔县源发地的广东汉乐相比,珠三角广东汉乐在乐器组合、人员构成、活动特征、社会功能、乐曲选择、音乐风格等方面既有传承也有创新。珠三角广东汉乐的在地化与客家族群性格、国家在场等因素紧密关联,这对广东汉乐的传承与发展既是机遇也有挑战,典型地体现了客家族群“新迁移”背景下非遗文化的“传统—现代”转型,同时也为弘扬中华优秀传统文化提供了启示:传统与现代之间并非只有对立或趋同的生存形态,也有并存或联结的中间形态;传统文化的再生产、再创造,需要赋予新意涵和新形式,从而为传统文化的承续提供适宜的现代性语境。Han music in the Pearl River Delta has both inheritance and innovation in terms of instrument combination,personnel composition,activity characteristics,social functions,music selection and music style,compared with that originating from Dapu County in Guangdong province.Its localization is closely related to factors such as the characters of the Hakka ethnic group and the state presence,which is both an opportunity and a challenge for the inheritance and development of Han music in Guangdong province.And it typically reflects the transformation between“the tradition and modernity”of intangible cultural heritage in context of the“new migration”of the Hakka ethnic group,and also it provides inspiration for promoting the outstanding traditional Chinese culture.Because there not only exists a state of opposition or convergence between the tradition and the modernity,but also an intermediate form of coexistence or connection.It requires to imbue new meanings and forms to the traditional culture for its reproduction and recreation and thus provides a suitable modern context for its continuation.

关 键 词：客家族群 “新迁移” 广东汉乐 在地化 族群性格 国家在场 

分 类 号：J607[艺术—音乐]