通过聆听:对“声音民族志”书写的回顾与重思  

Through Listening:A Review and Rethinking of Sound Ethnography Writing

作　　者：徐欣[1] Xu Xin

机构地区：[1]上海音乐学院音乐艺术研究院,上海200031

出　　处：《音乐艺术（上海音乐学院学报）》2024年第4期29-37,共9页Art of Music(Journal of the Shanghai Conservatory of Music)

基　　金：2021年国家社科基金艺术学重大项目“中国少数民族器乐艺术研究”,项目批准号:21ZD20;2021年度国家社科基金艺术学重点课题“声音生态与当代社会音乐文化建设”,项目批准号:21AD006。

摘　　要：声音与听觉构成一个共同体,但我们所面对的问题不在于论证其同一性,而是基于两者的差异,讨论音乐人类学需要什么样的“声音民族志”,聆听在声音民族志中扮演怎样的角色,如果丧失了对声音敏锐的感受力,如何以音乐这种体验艺术为对象、以民族志这种体验文本为方式进行声音民族志写作。“聆听”兼具方法与对象的双重意义,能够导向对于跨文化审美与情感、自然生态与声音生态、感官声音史等话题的讨论。在一定程度上,音乐人类学不乏对声音的关注,倘若缺少对听觉的关切,则难以对多元文化中的聆听者——“人”及其作乐实践有更为本体意义上的关怀。Sound and hearing form a community.Instead of arguing for their identity,the problem confronting us is to discuss,in the light of their discrepancy,the “sound ethnography” that music anthropology requires,the role hearing plays,and the way to write about sound ethnography with both musical and anthropological approaches if one loses sensitive sound perception.Listening has both methodological and objective meanings,arising issues such as cross-cultural aesthetics and emotions,natural and sound ecology,and the history of sensory sound.What musical anthropology lacks is not the focus on sound.If we don't pay enough attention to the listeners in multiple cultures,we are not likely to address “people-centered” issues in music practice from a more ontological view.

关 键 词：音乐人类学 声音民族志 聆听 声音现象学 

分 类 号：J607[艺术—音乐]