声音的边界——跨文化语境下的呼麦及其文化属性

The Boundary of Sound: Khoomei and Its Cultural Attributes in the Cross-cultural Context

20世纪以来,政治边界的形成对于生活在阿勒泰、唐努山周边游牧族群的传统音乐文化的传承与变迁产生了重要的影响。由于边境两侧不同国家对传统文化的处理方式的不同,呼麦等多声音乐的生存命运各不相同。呼麦作为卫拉特传统喉音艺术,它的仪式性表演、双声音乐结构及演变过程,也是图瓦、乌梁海等跨界族群之间在长期的历史和社会进程中相互吸收、交流、互动的过程。承载呼麦艺术的族群虽然跨界不同国度,其身份归属发生了变化,但呼麦这种独特的声音,与其他传统音乐之间的不同之处,在于呼麦这一艺术,始终与族群的信仰和祭祀仪式活动联系在一起,在族群的社会文化观念中有着极其重要的作用和价值。

Since the 20th century, the forming of the political boundary has exerted profound implications on the transmission and change of the traditional music held by the nomadic tribes living in Altay and Tangnu Mountain. Because of different measures to the traditional culture between the two sides, the polyphonic mu- sic, such as Khoomei, experience different fates. As a traditional guttural sound of Oirat, the ritual perform- ance, the double -sound structure and its evolution process, is also the process when the Tuva, Uriankhai and other across - border tribes learn, communicate and interact with each other during a long period of his- torical and social process. Though the ethnic groups who carry Khoomei live across the borders, their identi- ties change. This is one particular attribute of Khoomei which is different from other traditional music is that Khoomei is always closely related to the belief and worship rites of the tribes. Furthermore, it plays a crucial role and has important values in the social cultural concepts of the tribes.