走出“民族音乐”的概念泥淖:中国民族音乐学的西方因素与传统显影——一个跨文化的视角  

Out of the Conceptual Quagmire of“Folk Music”:Western Factors and Traditional Manifestations in Chinese Ethnomusicology——A Cross-Cultural Perspective

作　　者：郁甲坤 邓君睿 YU Jiakun;DENG Junrui(School of Music,Hunan University of Technology,Zhuzhou,Hunan 412007;School of Vocal Music,Harbin Normal University,Harbin,Heilongjiang 150010)

机构地区：[1]湖南工业大学音乐学院,湖南株洲412007 [2]哈尔滨师范大学声乐学院,黑龙江哈尔滨150010

出　　处：《民族学论丛》2024年第4期120-128,共9页

基　　金：湖南工业大学音乐学院湖南民族民间音乐舞蹈研究基地研究成果;湖南省教育厅科学研究项目优秀青年项目“文化传承视域下非遗民歌融入高校声乐教学路径研究”(22B0569)。

摘　　要：本土民族音乐发展曾因西方现代音乐的学科影响与多元音乐文化冲击而产生了主体性焦虑,局限于“民族”与“世界”的属性辨析而陷入理论与实践模式的僵化。作为中华民族身份认同与中国音乐文化传播的精神符号,中国民族音乐实际兼具了民族性和世界性,走出“民族性”和“世界性”的矛盾概念泥淖需要以“跨文化视角”重新审视“民族音乐”,在彰显本民族文化主体性和尊重他者文化的前提下进一步促进中国民族音乐“本土话语”的体系建构,借鉴和创造性地调用“西方元素”,推动民族音乐学理论的中国化发展与中国化实践。The development of local folk music was once subjectively anxious due to the disciplinary influence of Western modern music and the impact of multiple musical cultures and was limited to the discrimination of the attributes of“nation”and“world,”resulting in the rigidity of the theoretical and practical modes.As a spiritual symbol of Chinese national identity and the spread of Chinese music culture,Chinese folk music is actually both national and global,and to get out of the quagmire of the contradictory concepts of“national”and“global,”we need to re-examine“folk music”from a“cross-cultural perspective,”and further promote the system construction of“local discourse”of Chinese folk music under the premise of highlighting the subjectivity of the national culture and respecting other cultures,and learn from and creatively utilize“western elements”to promote the theoretical development and practice of ethnomusicology in China.

关 键 词：民族音乐 文化交互主义 世界性 民族性 

分 类 号：J605[艺术—音乐]