错位的双描:缅甸景栋泼水节仪式音乐民族志再研究  

Misplaced Double Descriptions:An Ethnographic Re-examination of the Ritual Music of the Water Splashing Festival in Kengtung,Myanmar

作　　者：董宸 Dong Chen(School of Music,South China Normal University,Guangzhou,Guangdong,510631.)

机构地区：[1]华南师范大学音乐学院,广东广州510631

出　　处：《民族艺术研究》2024年第5期47-58,共12页Ethnic Art Studies

摘　　要：中国民族音乐学的海外音乐研究和仪式音乐研究自21世纪以来逐步发展,目前有关缅甸景栋泼水节仪式音乐的相关材料虽然数量不多,但却涉及不同身份类型的多样调研方式和记录视角。在此基础上进行再研究,不仅拓展了研究对象的广度和深度,同时探索了新的思路方法。借由疫情/后疫情阶段实地田野调查受限的现实问题引发反思,运用当前全球化和网络信息技术完善的条件,拓展多点、合作的田野调查研究方法。由此通过线上—线下协同的“调查—确认—复盘”综合性调查分析方法,结合三种不同身份类型的“错位”记录角度,进行主位、客位结合的双向描写,最终完善景栋泼水节仪式音乐个案的“全貌”。Research on overseas music and ritual music in Chinese ethnomusicology has been gradually developing since the 21st century.The current materials related to the ritual music of the Water Splashing Festival in Kengtung,Myanmar,although small in number,involve a variety of research methods and recording perspectives of different identity types.A re-examination not only expands the breadth and depth of the research object,but also explores new ways of thinking and methods.Reflecting on the reality of limited fieldwork in and after the Pandemic,we use current conditions of globalization and improved network information technology to expand the research methodology of multi-sited and collaborative fieldwork.Thus,through the online-offline synergistic“investigation-confirmation-review”comprehensive investigation method,combining three different types of“misplaced”identity recording perspective,the two-way description of the combination of the emic and etic positions,it is ultimately possible to accomplish the“whole picture”of the case of the Kengtung Water Splashing Festival ritual music.

关 键 词：泼水节仪式音乐 缅甸景栋 民族志 

分 类 号：J607[艺术—音乐]