被认定的“标准”:新中国民族乐器标准化的实践与内涵

Recognized Standards:Practice and Connotation of the Standardization of Folk Instruments in New China

新中国成立70年以来,李元庆为代表的音乐学家们率先提出民族乐器的“规格标准化问题”,推进乐改的典范成果落实为国家和轻工行业标准,所生产的乐器在社会上进行表演实践、教学推广、考级评奖等普及应用,成为海内外印象中的“民族乐器”。器物领域的“标准乐器”并不排他,具有多重意义上的性能典范、服务于行业量产的强制性原则、大众应用中的社会化的三层内涵,各自成立,又互有可能。但认定“标准乐器”的主体,始终是人。人基于认定的客观标准来进一步探索主观认识,寻求多元化认知,更新和发展民族乐器“方言”体系,满足不同意义上的“标准化”需求。“标准乐器”走向成熟,不应只强调“非此即彼”的唯一标准,而是找到灵活开放的适应性标准。

Since the founding of the People's Republic of China 70 years ago,the musicologists represented by Li Yuanqing took the lead in putting forward the"issues of standardization"of folk instruments,promoting the implementation of the exemplary achievements of music reform into the national and light industry standards,and the musical instruments produced by him have been widely used in the society,such as performance practice,teaching promotion,classification exam and award appraisal,etc.,becoming the"national musical instruments"in the impression at home and abroad.The"standard instrument"is not exclusive.It has three connotations:performance model in multiple sense,mandatory principle of serving mass production in the industry,and socialization in mass application.Each of them is independent and possible for each other.But the main body of"standard instrument"is always human.Based on the objective criteria,people further explore subjective knowledge,seek diversified cognition,update and develop the"dialect"system of national musical instruments,and meet the needs of"standardization"in different senses.The maturity of"standard instrument"should not only emphasize the single standard of"either or",but also find the flexible and open adaptive standard.