摘要
“音乐人类学——如何通过文化情境写音乐人事制度”的作文命题,一方面再次强调了音乐人类学围绕文化的方法论,一方面又规定了它的研究范畴。尽管学科在不断发展,但其标志性,并未脱离20世纪中叶孔斯特等人将民族学与音乐学相结合形成其学科方法论的基本点,即围绕音乐与文化的关系展开。无论是“文化复合体”中的其他成分如何影响了音乐,还是音乐如何影响并主导了文化;亦无论是“文化语境中的音乐”,还是“文化中的音乐”,乃至“音乐作为文化”。作为学术研究的“理性话语”,它的立身之本,即在“给定的文化中”通过沉浸式的“实地考察”(fieldwork,或名田野工作、现场作业等)撰写音乐民族志(ethnography);它的学术追求,即于社会科学、人文科学和生物科学的跨学科探索中,期许一种“跨文化写作”的能力,并最终达至对人的音乐性的根本理解。本文通过简略的学科概述,并以自己的教学经历为例,讨论“以人为本的音乐民族志”及其实地考察,并将此作业方式理解为超越方法的“本体论承诺”。
The essay topic"Ethnomusicology:How to Write about Music,Human,and Phenomena through Cultural Contexts"emphasizes on one hand the methodological approach of ethnomusicology centered around culture,and on the other,defines its research scope.Even as the discipline evolves,it maintains its hallmark trait established in the mid-2Oth century by scholars such as Konst,who combined ethnology with musicology,forming the discipline's methodological core focused on the interplay between music and culture.This includes an examination of how music is influenced by and in turn influences the"cultural complex";whether it is"music within cultural contexts,""music in culture,"or"music as culture."As a rational discourse in academic research,its foundation lies in creating music ethnographies through immersive fieldwork within a particular culture.Its scholarly pursuit is the capacity for"cross-cultural writing,"aspired through interdisciplinary exploration in social sciences,humanities,and biosciences.This article provides a concise overview of the field and,using the author's teaching experiences as examples,discusses"human-centered music ethnography"and its fieldwork,interpreting this method as an"ontological commitment"that transcends methodology.
出处
《中国音乐》
北大核心
2024年第1期13-28,F0003,共17页
Chinese Music
