阐释与“误读”——从彝族“苏尼”单面鼓音乐考察引发的田野思考

Interpretation And “Misreading”——Thinking from Yi-nationality's “Suni” Single-drum Music Survey

在传统的彝族社区中,"毕摩"作为精神领袖和文化传人这一社会角色,他们在祭祀过程中的行为方式早已引起学界的广泛关注,各路学者分别从不同的学术立场获得了众多的成果。但针对施巫仪式的"苏尼"这一社会角色的研究成果却相对较少,从艺术人类学立场进行专题研究的成果更是处于空白。正是在这样的背景下,本专题立足艺术人类学的学科方法,依托田野的视角,对云南彝族楚雄地区"苏尼"的行为方式进行了专题研究,特别对其"施仪"过程中所使用的标志性"法器"单面鼓的社会功能进行了音乐学意义上的识读,并对彝族单面鼓这一田野现象的历史脉络进行了"误读"式的梳理,意在说明,在人类文化的创造中,许多"另一种声音的言唱"方式常常是我们仍很陌生的领域,有待各路学人的关注。

In the traditional Yi communities, ＂Bimo＂ is a social role of spiritual leader and cultural descendant. Their behavior in the worship has caused widespread concern in academic circles, and the brightest scholars have received numerous a- chievements from different academic standpoints. But the research of spell - performing ritual ＂Suni＂ is relatively less. Moreo- ver, the thematic research result from an art anthropological standpoint is even a blank. Based on the art anthropology approach and from the field perspective, this context carries on thematic research on ＂Suni＂ behavior way in Chuxiong area in Yunnan, es- pecially on the musicological sense of reading of the social function of the iconic ＂musical instruments＂ - - - single drum in the process of the ＂instrument performance＂. The ＂misreading＂ of the history of this field phenomenon--single drum in Yi nationali- ty intends to illustrate that, in the creation of human culture, many ＂singing in another voice＂ approaches are still unfamiliar and are subject to the attention of all scholars.