城市文化中的蒙古族民歌——流行化、艺术化与“原本化”

Mongolian Folk Songs in Urban Culture: Popularization, Artistry, and "Elementalization"

从草原、蒙古包一路走进城市的蒙古族民歌,与城市音乐文化的“适应”中多元共融,形成多样的表演形态,并在蒙汉等民族聚居的城市中呈现出独有的城市文化生态。一是城市大众舞台上的集体狂欢:蒙古族民歌的流行化;二是城市专业教育下的审美趣味:蒙古族民歌的艺术化;三是城市艺术交融中的文化间性:蒙古族民歌的“原本化”(此概念借用卡尔·奥尔夫的“原本性”概念与理论)。三种表演样态都是两种以上文化的融合,融合之后的美可谓“横看成岭侧成峰,远近高低各不同”。流行化的民歌是美感与快感的双向奔赴;艺术化的民歌以专业之美在与高雅艺术“通约”的同时实现自身更大范围的流通;“原本化”的民歌在古朴之美上悬挂着精神向往与心灵归宿。

Mongolian folk songs, which originated from the grasslands and yurts, have diversified and integrated with urban music culture as they adapted to city life. This integration has led to the formation of various performance forms, creating a unique urban cultural ecology in cities inhabited by ethnic groups such as the Mongols and Han Chinese. Firstly, the collective revelry on the urban stage: the popularization of Mongolian folk songs;secondly, the aesthetic interest fostered by professional education in the city: the artisticization of Mongolian folk songs;thirdly, the interculturalism within urban art integration: the "elementalization" of Mongolian folk songs(a concept borrowed from Carl Orff's concept and theory of "Elementar" as discussed in the following article). All three performance styles represent the fusion of two or more cultures,showcasing the beauty of their integration, described as "different yet harmonious." Popularized folk songs embody a mutual pursuit of beauty and pleasure;artistic folk songs achieve wider circulation with professional refinement while "communicating" with the elegant arts;and "elementalized" folk songs reflect a spiritual yearning and connection to an ancient simplicity.