传统音乐的民俗主义表演——以准格尔旗“第九届漫瀚调艺术节”为例  

Folklore Performances of Traditional Music: A Case Study of the '9th Manhan Tune Art Festival' in Zhungeer Banner

作　　者：唐鹤 Tang He

机构地区：[1]中国音乐学院

出　　处：《中国音乐》2025年第2期83-91,共9页Chinese Music

基　　金：2021年度国家社科基金艺术学重大项目“黄河流域音乐多元文化一体格局研究”(项目编号:21D18)的阶段成果。

摘　　要：当代民俗主义视野下的传统音乐常常用于各种节日、庆典、展演或仪式中,在延续传统的同时,结合新的社会形态和文化来展示、演出或利用。表演对象往往选择这一社群中最典型、最具有象征意义的音乐。如准格尔旗“第九届漫瀚调艺术节”,当地人将漫瀚调作为展演的对象,由它来联结诸多元素而建构一场大型的民俗表演。漫瀚调被赋予特定含义时,便产生象征其意义的符码,主办方将之组成象征体系来传播活动信息,让国家、地方、文化得以体现。可见,漫瀚调在民俗中表演之后,它的功能性超出了它作为传统音乐本身,这是人们共同赋予的,也正体现了民俗主义表演的意义所在。Traditional music, examined through the framework of contemporary folklorism, frequently features in festivals, celebrations, exhibitions, and ceremonies, illustrating a dynamic interplay between cultural preservation and contemporary societal expressions. Performers often select the most emblematic and representative pieces from their communities to highlight and celebrate tradition. At the 9th Manhan Tune Art Festival in Zhungeer Banner, the Manhan Tune was the central focus of a large-scale folk performance, integrating diverse elements to create a vibrant cultural display. When imbued with specific meanings, the Manhan Tune transcends its original form, evolving into a symbolic system that conveys cultural significance. Festival organizers strategically leveraged this symbolic system to communicate the event's message, reflecting and reinforcing national, regional, and cultural identities. This case study demonstrates that, when incorporated into folkloric customs, the Manhan Tune's function extends beyond its traditional musical role. It becomes a co-created cultural medium, shaped by community participation, underscoring the broader implications and significance of folkloric performance.

关 键 词：漫瀚调艺术节 文化表演 民俗主义 

分 类 号：J607[艺术—音乐]