摘要
拇指琴是非洲肖纳文化中的重要乐器,其形制特别,演奏中有诸多禁忌。在全球化的推动下,拇指琴从非洲土地上走向世界化,美国的音乐家将其作为一件特殊的音色乐器进行演奏,因此拇指琴失去在原生文化语境中的各种文化涵义。这一问题存在于各类民族音乐世界化的现象中,对既有的民族音乐学理论形成挑战,需要民族音乐学者对于许多常用概念进行反思,并完善民族音乐学的理论体系。
Mbira Dza Vadzimu,whose shape is unique with a lot of taboos while played,is a vital music instrument to Shona culture in Africa.With the promotion of globalization,mbira went out of Africa and landed on different con tinents.In the United States,the musicians play the mbira for a special tone color,depriving the original tribal meaning of it in the original context.This problem exists in all kinds of phenomena of worldlizations of national mu sic,causing a challenge of the theory and methodology of ethnomusicology.It requires the ethnomusicologists to re flect the common concepts,as well as to refine the theoretical system of ethnomusicology.
出处
《浙江艺术职业学院学报》
2019年第3期87-91,共5页
Journal of Zhejiang Vocational Academy of Art
