摘要
西方民族音乐学传入我国于上世纪90年代中期以后逐渐显现出负面影响,并且出现了一股对已有传统音乐研究从学科价值、目标方向、理论方法到研究成果予以根本否定的思潮。将已有研究作为民族音乐学"中国化"、"中国实践"的"特殊阶段",以非世界音乐研究的"闭塞"、"欧洲中心论的影响"、"狭隘的音乐本体观念"、"单纯的民族感情"等从整体上加以否定;传统音乐研究所长期坚持的建立中国音乐理论体系的目标,因与民族音乐学后现代理论对音乐本质与规律的否定而遭到否定;传统音乐研究中一直使用的各种音乐学方法,因违背民族音乐学文化分析的理念而予以否定;已有收集整理及研究的成果,也因不符合民族音乐学文化认知的要求、不能提供文化背景资料而被否定。民族音乐学传入后对已有传统音乐研究的否定,根本原因在于"用民族音乐学的眼光看"。已有传统音乐研究的被否定,促使我们深究并弄清民族音乐学的学科本质问题。
This paper explores the discipline nature of criticize Chinese traditional music research. In 1980, ethnomusicology by review the history that ethnomusicologist ethnomusieology was introduced into China, and it gradually showed negative effects after the mid - 1990s. Guidelines for ethnomusicology, ethnomusicologists have negated the value, target, methods and achievement of Chinese traditional music research. Many ethnomusicologists believe that Chinese traditional music research was merely the ＂special history stage＂ and a sinization of western ethnomu- sicology. They also criticize that traditional music research was not world music research, too much eurocentrism, musical morphologic study and Populism.
出处
《星海音乐学院学报》
2016年第1期20-35,132,共17页
Journal of Xinghai Conservatory of Music
