音乐民族志

Musical Ethnography

音乐民族志(Musical Ethnography)既是民族音乐学(Ethnomusicology)重要的学术分支,也是民族音乐学的一种书写方式,在民族音乐学研究中具有不可或缺的根源性地位。从词源流变看,民族志从德国学者探险之旅的考察手记中产生,几经变迁,成就了民族学学科;比较音乐学在多学科学者推动下开创,同时也带来了民族志的研究方法。从书写方法看,由20世纪60年代音乐民族志方法确立,70年代解释人类学,逐渐与音乐人类学理念交互存在,形成了民族音乐学“双焦点”(音乐学和人类学两种倾向)的独特研究视野。中国直到20世纪80年代才引进民族音乐学理念,音乐民族志书写也由此而始,发展至今四十年有余,学者们孜孜不倦地在探索音乐民族志书写的中国经验。中国学者在民族志书写方法层和田野实践体验的探索基础上,借鉴西方前沿理论,亦形成了音乐民族志研究的中国实践。

Musical Ethnography is not only an important academic branch of ethnomusicology but also a writing method of ethnomusicology,Therefore,it has an indispensable root position in ethnomusicology.From the perspective of etymological changes,ethnography emerged from the notes of German scholars’expeditions,and after several changes,it became the discipline of ethnology.Comparative musicology was pioneered under the impetus of multidisciplinary scholars who also brought in research method of ethnography.From the perspective of writing methods,it was established by musical ethnography in the 1960 s,interpretive anthropology in the 1970 s,which began to interact with the idea of musical anthropology,forming a unique research vision of ethnomusicology with a“dual focus”(both musicological and anthropological tendencies).It was not until the 1980 s that the concept of ethnomusicology was introduced in China,and the writing of musical ethnographies has been developed for more than 40 years since then.Based on the exploration of the methodological level of ethnographic writing and field practical experience,Chinese scholars have also developed a Chinese practice of musical ethnographic research,based on cutting-edge Western theories.