民族音乐学“双视角”和“异文化”研究观念的历史演变和现实意义--《音乐民族志方法导论:以中国传统音乐为实例》教学与辅导之六

The Historical Evolution and Practical Significance of the"Dual Perspective"and"Different Culture"Research concepts in Ethnomusicology for An Introduction to the Methods of Music Ethnography:Taking Chinese Traditional Music as an Example

“主位-客位”“局内-局外”“双视角”是民族学民族志研究者进入田野作业现场及其后进行案头分析时所依据的最基本的考察研究方法。在中国当代音乐民族志方法论建设过程中,21世纪初期已经在国际同类学术思潮影响下,出现了“双视角”理论的重心由客位到主位,由局外到局内以及由群体到个体横移的状况以及“异文化”研究概念引导下的两者间互动、互视和彼此转换的关系构架,并且完善了相关研究方法的整体环链和理论系统。十余年后上述状况更趋于复杂化:一方面是“双视角”的区分界限和标尺逐渐趋于模糊,青年一代学者的个人成长、成材过程更为复杂、多源,并显现出更多的身份认同危机;另一方面在这时的学界,却有待于补充和发展出与之相应的研究思维、观念和方法论手段。

"Subject-object", "inside-outside",and "dual perspectives" are the most basic research methods for ethnography researchers when they enter the field work site and carry out the analysis afterwards.In the process of methodology construction of contemporary Chinese music ethnography in the early 21 st century,under the influence of the same kind of international academic thought s,there has been a situation that the focus of "dual perspective" theory has shifted from object to su bject,from outside to inside,from group to individual,and a relationship framework of interaction,mutual viewing and mutual transformation between the two under the guidance of the concept of "different cultures".It also improves the whole chain and theoretical system of related research methods.More than ten years later,the above situation tends to be more complicated:on the one hand,the distinction and scale of "dual perspectives" gradually become blurred,the personal growth and success process of the young generation of scholars is more complex and multi-source,and more identity crises appear;On the other hand,at this time,the academic circles need to supplement and develop the corresponding research thinking,concepts,and methodology.