区域文化架构下西藏传统音乐风格区——访著名藏族音乐学家格桑曲杰先生

On the Style Area of the Traditional Tibetan Musicfrom the Perspective of Regional Culture——An interview of Professor Gyesang Chugye, a renowned Tibetan musician

格桑曲杰先生30多年耕耘不辍致力于西藏民族音乐的搜集、整理、研究以及成果出版工作,先后发表学术论文60余篇,《世界屋脊之巅西藏阿里的民歌风格、区域特色及种类》《西藏民族器乐发展史简论》《桑耶寺康松桑康林白面具藏戏壁画的绘制年代与内容考辩》《从敦煌吐蕃历史文书中对"古尔"的记述看其早期功用、形态特征与演变》等多篇论文受到了国内外音乐学者的高度评价。他曾担任国家艺术学科重点科研项目《中国民族民间器乐集成·西藏卷》和国家重大文化工程项目《中国地域文化通览·西藏卷》的主编。出版《中国民族民间器乐曲集成·西藏卷》《中国西藏佛教寺院仪式音乐研究》《环喜马拉雅音乐文化研究》等多部著作。其中,《中国西藏佛教寺院仪式音乐研究》入选2014年中国国家哲社会科学成果文库,成为西藏获此殊荣的唯一一部成果。文章主要围绕区域文化构架下如何形成西藏音乐风格区,五大音乐区域的音乐风格特点及品类分布情况,各自风格区域内准风格区或亚风格区的关联,如何传承和发展传统民族音乐及如何看待寺院音乐等方面,对格桑曲杰先生进行了采访。

Mr.Gyesang Chugye has dedicated to the collection,collation and research of traditional Tibetan music for more than 30 years,and has published more than 60 academic papers,of which,one written about the style,regional characteristics and types of the folk songs of the Ngari Prefecture in Tibet and many other papers have been highly praised by scholars at home and abroad.He has served as an editor-in-chief of“Collection of the Tibetan Folk Songs"and"Collection of Instrumental Music",which are national key scientific research projects of arts.From the perspective of regional culture,this article probes into the formation of the style area of the Tibetan music,the style features of the Five Music Regions,each category’s distribution,the relationship between the style areas,the inheritance and development of the traditional ethnic music,and temple music.