双重音乐能力

Bi-musicality

美国民族音乐学家曼特尔·胡德(Mantel Hood)提出"双重音乐能力(Bi-musicality)"理论,旨在通过有意识地学习研究对象的音乐来探索音乐与艺术、语言、宗教、习俗、历史之间的文化关系。西方民族音乐学将"双重音乐能力"作为一种研究方法多用于田野实践之中,而中国学界则以"双重乐感"的培养率先运用在少数民族音乐教育中。近些年来,随着中西方对"双重音乐能力"理论与实践的不断反思,研究逐渐呈现出"跨学科"的趋势。对于当前民族音乐学学科来说,"双重音乐能力"的培养,首先是通过对不同地方音乐表演者歌唱语言、器乐演奏、肢体动作等方面的亲身体验与实践,习得"双重"或"多重"的音乐表演技能;其次,它是民族音乐学者在田野观察中从"局外人"到"局内人"身份转型的一种重要途径;最后,在双重演奏、演唱、舞蹈等能力的训练中实现对整个社会中音乐概念的全面认知,不仅窥探了音乐交流与互动中的文化"隐喻"问题,还为音乐表演民族志的"深描"提供写作依据。

American ethnomusicologist Mantel Hood proposed the theory of Bi-musicality, which aims to explore the cultural relationship between music and art, language, religion, customs and history by consciously learning the music of the research target.Western ethnomusicology uses “double music ability” as a research method in fieldwork, while the Chinese academic circles take the lead in applying the cultivation of “Bi-musicality” in the education of ethnic minority music. In recent years, with the continuous reflection of the theory and practice of “Bi-musicality” in China and the West, the research has gradually been “interdisciplinary”. For the current ethnomusicological discipline, the cultivation of “Bi-musicality” concerns, firstly, the acquisition of the “double” or “multiple” musical performance skills through personal experience and practice of singing language, instrumental music performance, body movements and other aspects. Secondly, it is an important way for ethnomusicologist to transform their identity from “outsider” to “insider” in the field observation. Finally, it is a comprehensive cognition of the concept of music in the whole society by the training of double performance, singing, dancing and other abilities, which not only explores the cultural “metaphor” in the musical communication and interaction, but also provides a writing basis for the “deep description” of ethnography of musical performance.