再论“原生态”音乐

To Re-discuss the Primitive Music

本文为笔者2004年《质疑"原生态"音乐》(载《艺术评论》2004第4期)的续篇,也是笔者时隔7年后对这一命题的再思考;2004年以来,原生态音乐在现代媒体的追捧下,逐步受到大众(传媒受众)与小众(行业学界)群体的普遍关注;原生态音乐即指原有(或原始)的、未经(或极少)变异的、未经(或较少)"污染"的音乐品种。其存留需要有几个前提或基础;原生态音乐的基本内涵应该是一种开放与共融的综和。依其表现与存在方式,可再细分为:原生态、次生态、再生态、衍生态……最后再回到更高一层面的"生态"结构;当下,假"原生态"音乐现象营造氛围,借"原生态"音乐现象打造品牌,用"原生态"音乐现象锻造精品,为"原生态"音乐现象铸造永恒的举动此起彼伏。以原生态音乐"聚名"、用原生态音乐"说事"的现象和案例也可谓充斥耳目、泛滥谓灾。因此,有必要对原生态音乐作更进一步的阐述、论证或规范。

This article is a sequel of author＇s To Query the Primitive Music, which published in 2004, and it is also author＇s rethinking on this issue. Since 2004, primitive music has been pursued and admired by mass media, becoming an issue brought to public attention. Primitive music is generally accepted that, it is a kind of music, which is primeval, non-or-less various, furthermore, it can only survive on the basis of open and coexisting connotation, however, at present, there are lots of pieces of primitive music in name but not in reality flooded in socieW, so the author believes that, it is the time to go a step further to elaborate, demonstrate and standardize the primitive music.