摘要
如果以苗疆走廊作为参照,贵州民间音乐的历时传延和空间流布,就构成了一个在汉传音乐文化“型塑”下的“网状式通道文化”时空结构。在以往的学术语境中,这种时空结构的研究往往从宏观视角出发,进行多点的田野比较和民族志叙事,但是在方法论上却缺少对一个乐种流变过程的细部观察,及其在流变线索追踪中的音乐形态分析,因而其差异性和共通性无从以“实在的音声”予以实证。本文试图转换方法论视角,选取赶马调、贵州花灯、侗戏作为个案,以苗疆走廊作为参照,从微观观察出发,通过音乐形态流变线索的比较分析,探寻贵州民间音乐基于苗疆走廊“通道文化”的“涵化”现象。
If the Miao Corridor is taken as a reference,the diachronic spread and spatial distribution of Guizhou folk music constitute a space-time structure of "network channel culture" under the "shaping" of Han music culture.In the past academic context,the study of this kind of space-time structure often started from the macro perspective,and carried out multi-point field comparison and ethnographic narration.However,in methodology,it lacked the detailed observation of the evolution process of a kind of music and the analysis of its music shape in tracking the evolution clues.Therefore,its differences and commonalities could not be verified by "real sound".This paper attempts to change the perspective of methodology,select the gan ma diao,Guizhou huadeng,Dong folk opera as cases,take the Miao corridor as a reference,from the micro observation,through the comparative analysis of music morphology evolution clues,in order to explore the "acculturation" phenomenon of Guizhou folk music based on the "channel culture" of the Miao Corridor.
出处
《南京艺术学院学报（音乐与表演版）》
北大核心
2021年第3期41-50,I0005,共11页
Journal of Nanjing Arts Institute:Music & Performance
关键词
苗疆走廊
贵州民间音乐
文化涵化
一体多元
音乐形态分析
Miao Corridor
Guizhou folk music
cultural assimilation
integrated and multivariate
music shape analysis
