杨民康的中国民族音乐学本土化实践与理论贡献

Yang Minkang's Practice and Theoretical Contribution to the Localization of Chinese Ethnomusicology

1980年后中国民族音乐学获得了长足发展,这与各领域学者们从理论与实践上积极推进民族音乐学本土化不无相关。杨民康作为中央音乐学院首位自己培养的中国传统音乐理论及少数民族音乐研究方向研究生,后又于香港中文大学获得哲学(民族音乐学)博士学位,他从开始学问就建立了民族音乐学本土化的目标追求,并由家乡云南少数民族音乐文化研究起步,通过对象领域的不断拓展与理论研究的层层深入,主要在中国南方少数民族暨跨界族群音乐(泛传统音乐)研究、音乐民族志与民族音乐学本土理论体系建构等方面取得了瞩目成就。他从理论和实践层面上平衡中西、古今学统,始终以开放、立体、多元、动态的眼光看待并解释不断变化着的中国传统音乐文化,基于对中国传统音乐及少数民族音乐文化特征的深层认知和对中西方多学科理论成果融会贯通与创造,提出了如“中国传统音乐文化多元分层一体化”“以仪式为中心”“以表演为经纬”“泛传统音乐”等概念,“音乐文化本位模式分析”“圈层丛”“蛋糕夹层”论说,有关仪式音乐民族志、仪式音乐表演民族志方法论,以及为将音乐与文化、汉族与少数民族、少数民族音乐研究与中国民族音乐学其他两个分支学科、与艺术学、与其他人文学科贯通的诸多尝试,为当下中国乃至世界民族音乐学学术体系提供了一份个性化的经验与启示。

Since the 1980s,Chinese ethnomusicology has made significant strides,which is closely tied to scholars'efforts to promote the localization of ethnomusicology in both theory and practice.Yang Minkang,the first graduate trained at the Central Conservatory of Music in the fields of Chinese traditional music theory and ethnic minority music research,later obtained a PhD in Philosophy(ethnomusicology)from the Chinese University of Hong Kong.From the beginning of his academic journey,Yang established a goal of localizing ethnomusicology.Starting with the study of ethnic minority music cultures from his hometown in Yunnan,he has achieved remarkable success through continuous expansion of research subjects and the deepening of theoretical studies,particularly in regard to South China's ethnic minority and cross-border ethnic group music(pan-traditional music),music ethnography,and the construction of a localized theoretical framework of ethnomusicology.Balancing Chinese and Western,ancient and modern academic traditions in both theory and practice,Yang consistently views and interprets the evolving Chinese traditional music culture with open,multifaceted,and dynamic perspective.Based on his profound understanding of the characteristics of Chinese traditional and ethnic minority music culture,and his integration and innovation of multidisciplinary theoretical achievements from both China and the West,he proposed concepts such as"pluralistic and layered integration of Chinese traditional music culture","ritual-centered","performance as longitude and latitude",and"pan-traditional music",Additionally,he introduced analytical models like the"music culture-based pattern analysis","concentric layers",and the"cake layers"theory,as well as methodologies in ritual music ethnography and ritual music performance ethnographical methodogies.Yang's attempts to bridge music with culture,Han with ethnic minorities,ethnic minority music research with other two branches of Chinese ethnomusicology,arts studies,and other humanities disciplines,providing personalized experiences and insights into the academic system of ethnomusicology in China and even the world.