从布朗族民歌发展现况看音乐非遗的创造性转化与创新性发展  

From the Development of Bulang Ethnic Folk Songs to the Creative Transformation and Innovative Development of Musical Intangible Cultural Heritage

作　　者：杨民康[1] Yang Minkang

机构地区：[1]中国音乐学院中国乐派研究院,北京100875

出　　处：《艺术探索》2025年第1期96-105,共10页Arts Exploration

基　　金：“中国乐派研究团队特聘人员计划”(2022年度)。

摘　　要：布朗弹唱是近半个世纪以来发展起来的中国布朗族新兴民歌形式,尽管产生和形成的历史比较短暂,但是它对传统民歌有较好的继承和发展,仍然拥有传统民歌的种种文化特征,于2008年被列入第二批国家级非物质文化遗产名录。目前包括布朗弹唱和泼水节在内,显现传承+建构特征的一类当代民族文化事象,无形中成为当地群众对本民族传统音乐进行自我传承和保护的一道“隔离带”,由此形成以本民族为基本范围的,具有对内、对外两种不同功能的节庆仪式话语系统和适用于官方、民间不同需求的两套策略。这种在新的社会环境条件下形成的新的民族文化观和艺术观,以及由当地群众自发形成的对于传统非物质文化的传承和保护观念意识,值得我们重视和展开进一步研究。Bulang ballad singing is an emerging form of folk song among the Bulang ethnic group in China that has developed over the past half-century.Despite its relatively short history of emergence and formation,it has well inherited and developed traditional folk songs,retaining various cultural characteristics of traditional folk songs.As a result,it was included in the second batch of the national intangible cultural heritage list in 2008.Currently,including Bulang ballad singing and the Water-Splashing Festival,a category of contemporary ethnic cultural phenomena characterized by inheritance and construction has become an"isolation belt"for local people to self-inherit and protect their traditional musical intangible cultural heritage.This has led to the formation of a festival ritual discourse system with both internal and external functions,as well as two sets of strategies applicable to the different needs of official and folk sectors,all within the basic scope of the ethnic group.This new ethnic cultural and artistic perspective,formed under new social conditions,along with the spontaneous awareness of local people for the inheritance and protection of traditional intangible culture,is worthy of our attention and further research.

关 键 词：布朗族民歌 布朗弹唱 音乐非遗 创造性转化 创新性发展 

分 类 号：J607[艺术—音乐]