灵动于“参与性差异”时:论“作乐”的艺术生成  

In the Spiritual Moment of “Participatory Discrepancies”:On the Artistic Production in “Musicking”

作　　者：黄婉[1] Huang Wan

机构地区：[1]上海音乐学院,上海200031

出　　处：《音乐艺术（上海音乐学院学报）》2024年第4期19-28,共10页Art of Music(Journal of the Shanghai Conservatory of Music)

基　　金：2020年度国家社科基金艺术学项目“记忆、认同与跨国想象:当代上海城市多元族群音乐文化研究”阶段性成果,项目批准号:20BD054;2024年上海音乐学院校级科研课题研究成果。

摘　　要：“作乐”是音乐人类学近年来的研究热点之一,该观念认为音乐并非仅作为创作、聆听和表演的艺术品,而具有与人的体验有关的本质属性,人的“参与性差异”贯穿于其中,故要求音乐人类学研究进入差异丛生的“表演中”,体验和书写那种艺术性与社会性一体共在的生命律动。“作乐”在世纪之交的提出,不仅对人的“现代性异化”进行了反思,而且还引导今人重返表演行为所依托的自然、生态、身体、社会、心理和情感等古老路径,探索被现代理想模式所遮蔽或遗忘的、曾灵动于差异化表演过程中的社会控制和艺术生成力量。“Musicking” has been one of the key concept of Ethnomusicology in recent years,a notion that music is not just a musical creation,listening and performance,but the essential properties of music are related to human experience,where “participatory discrepancies” root in.It requires researchers to study in the process of“performance,” experiencing and descripting artistic and social dynamics of life.This paper argues that the introduction of “musicking” at the turn of the century not only reflected on the “modern alienation of man,” but also guided people back to ancient pathways of nature,ecology,body,social,psychological and affection in performance,to explore the force of social control and artistic generation,which have been obscured or forgotten by modern ideals,and have inspired the differences in performance.

关 键 词：作乐 参与性差异 艺术生成 社会关系 具身性 即兴表演 

分 类 号：J607[艺术—音乐]