论客家山歌内涵与外延的跨时代、跨学科与跨地域  

Perspective Shifts and Disciplinary Differences:Temporal and Geographical Evolutions of Hakka Folk Songs in Terms of Their Connotations and Denotations

作　　者：郭小刚 GUO Xiaogang(Center for Southeast Asian Studies,South China Normal University,Guangzhou,Guangdong 516031,China)

机构地区：[1]华南师范大学音乐学院,广东广州510006

出　　处：《贵州大学学报（艺术版）》2024年第4期107-118,共12页Journal of Guizhou University Art Edition

基　　金：广州市哲社“十三五”规划“马来西亚客家山歌在地化研究”(项目编号:2020GZGJ69)。

摘　　要：追溯客家山歌研究史,以客家人的主位视角来看,它是一个广义的概念,这一概念延续至今,不仅包括传唱于世界各地的客家传统山歌、客家童谣、客家竹板歌、客家歌舞等不同体裁的传统民歌,甚至包括客家山歌剧中的唱段和有异国民歌音调的东南亚“新客家山歌”。以音乐学研究者的客位视角来看,理论上存在狭义的客家山歌,但它在现实生活中和其他体裁的客家歌曲镶嵌并存,以往的研究难于或疏于剥离、分类,故研究结论有时“张冠李戴”。为了深入分析不同类别客家歌曲的音乐特色,音乐学研究者要注意从研究视角的主位—客位转换去界定研究对象,不可笼统默认民俗学和文学对客家山歌内涵与外延的理解。The history of Hakka folk songs is actually a broad concept if traced from the perspective of the Hakka people themselves.This concept has endured to the present,encompassing not only various genres of traditional folk songs such as the Hakka ballads,children’s rhymes,bamboo-clapper songs,and other renditions from the Hakka opera,but also some“new Hakka folk songs”from Southeast Asia with distinct exotic musical tones.From the scholars’perspectives of music studies,there is a narrow definition of Hakka folk songs,which coexist in reality alongside other genres of Hakka songs.Previous researches have often struggled or neglected to distinguish and classify them,leading to conclusions that can be confusing or inaccurate.In order to delve into the musical characteristics of various categories of Hakka songs,scholars of music studies must pay attention to the shift between the perspectives of subjectivity and objectivity in their research by carefully defining their research objects instead of simply accepting the understandings of folklore and literature on the connotations and denotations of Hakka folk songs.

关 键 词：客家山歌 符号衍化 区域国别 主位—客位 学科差异 

分 类 号：J607[艺术—音乐]