2020海外中国音乐研究选

Original RILM中国国际音乐文献资料大全RILM 2021-09-23

海外对中国音乐的研究，常常跟国内学者有着不同的角度。2020年就要过去了，这一年海外有哪些中国音乐的研究成果值得关注呢？下面我们就来梳理一下。

1.《作为个人与传统间协商渠道的中国歌手大赛》（Chinese singing contests as sites of negotiation among individuals and traditions）

作者：Levi S. Gibbs

来源：Faces of tradition in Chinese performing arts, edited by Levi S. Gibbs, 41–63. Indiana University Press, 2020.

摘要：本文探讨了中国的歌手大赛作为“传统化机制”的功能，即歌手、评委和其他个人与表演传统的互动和重构。在全国性歌手大赛中成名的中国北方职业民歌手的个案表明，参加比赛不仅提高了表演者个人的地位，而且还在特定的表演传统和全国性媒体环境中对歌曲、演唱风格和地域进行了重新定位。此外，关于参加比赛并获得成功的叙事有时会将参赛歌手与其他更出名的歌手以互利的方式联系起来。歌手职业生涯中的比赛应该被视为一系列边缘空间，而不仅仅是艺术家之间的竞争。在比赛中，歌手及其他个体在表演传统的延续性和变化之间进行协商。

Explores the function of Chinese singing competitions as “mechanisms of traditionalization” where singers, judges, and other individuals interact with and reconfigure performance traditions. According to evidence from case studies of professional folksingers from northern China who became famous after appearing on national singing competitions, participating in contests not only raises the status of individual performers, but also repositions songs, singing styles, and regions within particular performance traditions and the national mediascape as a whole. In addition, narratives of participation and success in contests sometimes connect singer-contestants to other more established singers in mutually beneficial ways. Competitions in a singer's career should be viewed as a series of liminal spaces—rather than as simple contests between individual artists—where the singer and other individuals negotiate choices between continuity and change in representing performance traditions.

2.《从田野录音到民族志唱片：为国外的小众市场策划云南之声》（From field recordings to ethnographically informed CDs: Curating the sounds of Yunnan for a niche foreign market）

作者：Helen Rees

来源：Faces of tradition in Chinese performing arts, edited by Levi S. Gibbs, 125-154. Indiana University Press, 2020.

摘要：本文探讨自1995年以来由荷兰和新西兰的唱片公司发行的一系列云南民间音乐的民族志唱片。尽管该系列发行量很小，但却对外国学者了解和认识这个偏远省份的表演艺术产生了重大影响。它还让一些有天赋的民间音乐家得以出国演出。尽管这些CD在国内的影响力不大，其中许多录音已经成为重要的历史文献，这在上世纪八九十年代录音制作的时候是无法预料的。从更广泛的角度来看，这些CD的故事说明了中国和西方特定的历史、技术和学术发展对民间音乐唱片的传播所起到的重要作用。

Highlights a notable series of ethnographic CDs of Yunnanese folk music issued since 1995 by small recording companies based in the Netherlands and New Zealand. Despite circulation figures that seldom exceed a few hundred, the series has had a major impact on foreign scholars’ knowledge and understanding of the performing arts of this remote southwestern province. It has also helped bring a handful of gifted folk musicians to foreign concert platforms. While the direct impact of the CDs within China has been minor, many of the featured recordings have become significant historical documents, some in ways that could not have been anticipated in the 1980s and 1990s when most of the recordings were made. More broadly, the story of the CDs illuminates the centrality of specific historical, technological, and academic developments in both China and the West to the public dissemination of folk music recordings.

3. 《收集花儿，定义歌种：张亚雄与<花儿集>》（Collecting flowers, defining a genre: Zhang Yaxiong and the anthology of hua’er folksongs）

作者：Sue Tuohy

来源：Faces of tradition in Chinese performing arts, edited by Levi S. Gibbs, 94-124. Indiana University Press, 2020.

摘要：二十世纪初，来自中国西北的记者张亚雄开始研究自己家乡的歌曲，并在1940年出版了第一本全国发行的花儿集。他的工作对于作为一个歌种、一种跨民族跨地域的传统音乐以及中国传统艺术的一个代表的花儿起到了重要的宣传作用,并为花儿研究的确立和今天大众对花儿的欣赏做出了贡献。张亚雄对花儿的推广，与后来花儿研究对张亚雄的推广，在过去的七十年间通过持续的话语和实践而产生了多重交集。这个案例说明了收集者-编辑者及其选集在传统的建构和价值传播中所发挥的核心作用。收集者-编辑者和他们的选集长期参与创造性的交流过程，并在此过程中具有重要的公共性和互文性。二者通过特定语境中的社会互动而成形，从过去的资源中汲取灵感，同时又在协商当下的需求。反过来，它们又产生了供后人使用的材料以及认知和行动的方式。

In the early twentieth century, Zhang Yaxiong, a reporter from northwest China, began research on songs from his native region, and in 1940, published the first nationally-circulated anthology of hua'er songs. His work was central to promoting the idea of hua'er as a genre of folksong, as a multiethnic and regional tradition, and as a valuable part of a broader Chinese artistic tradition. It contributed to the establishment of the field of hua'er studies and to today's public celebration of hua'er songs. Zhang's promotion of hua'er, and hua'er studies' later promotion of Zhang, have mutually and multiply intersected through ongoing discourse and practice over the last seven decades. This case illustrates the central role played by collector-editors and their anthologies in the construction of traditions and in the dissemination of values. Collector-editors and anthologies are participants in long-term creative communicative processes, in which their communal and intertextual natures are important. They are constructed through social interactions within particular contexts as they draw from resources of the past while negotiating the needs of the present. They, in turn, produce materials and ways of knowing and doing to be used by those after them.

4. 《把握非遗，重塑内蒙：民间艺术家专辑与表述中国音乐的新逻辑》（Grasping intangible heritage and reimagining Inner Mongolia: Folk-artist albums and a new logic for musical representation in China）

作者：Charlotte D’Evelyn

来源：Faces of tradition in Chinese performing arts, edited by Levi S. Gibbs, 17–40. Indiana University Press, 2020.

摘要：本文探讨录音专辑在推介内蒙古民间艺人中的作用。“内蒙古民族音乐典藏──大师系列”旨在将口传曲目中的非物质文化遗产转化为有形的CD形式，并传递给后代。这个例子说明了近十年来学术界在收集内蒙古濒临失传的口头传统以及记录该地区文化多样性方面的努力如何转化为录音专辑，这些专辑又如何在展现民间音乐人个体地位方面发挥了重要作用。以其中长调歌手巴德玛的专辑为例，她成为阿拉善盟非遗传承人的过程说明了中国内蒙古过去15年间在文化政策方面的变化。

Considers the role of recorded music albums in mediating the position of the individual folk musician in Inner Mongolia, China. The CD series “Inner Mongolia ethnic music classics—Great masters series”, which seeks to transform the intangible cultural heritage of oral repertoires into a tangible CD format that can be transmitted to future generations, provides an example of how the efforts of scholars during the past decade to collect dying oral traditions and catalogue regional cultural diversity can be turned into commercial music albums that play an important role in mediating the position of the individual folk musician. In the case of an album of collected recordings featuring the urtyn duu singer Badma, her designation as a cultural transmitter from Alasha, Inner Mongolia illustrates the changing politics of recognition in Inner Mongolia and China over the past decade and a half.

5. 《板腔曲调的节拍转型和演变发展:追寻传统粤剧创意──纪念传统戏曲研究先驱赵如兰教授》（A heuristic theory of metrical transformation and tune metamorphosis: Tracking creativity in traditional Cantonese opera）

作者：Bell Yung（荣鸿曾）

来源：Ethnomusicology, Vol. 64, No. 1 (Winter 2020), pp. 110-140

摘要：中国传统戏曲利用多元化的板腔体曲调表达戏剧中的喜怒哀乐等情感。从纯音乐节奏方面看，粤剧板腔曲调中词格与曲格的分布关系引起强弱拍冲突，形成节拍转型，使唱腔节奏灵活多变，启发演员即兴创作，推动板腔曲调的演变发展。本文以慢板、快中板和快点为例阐释对以上的几点体会。

The ambiguous nature of the metrical structure of the preexistent tunes used in Cantonese opera, which Rulan Chao Pian called “aria types,” allows for multiple interpretations. The flexibility inherent in such metrical ambiguity enables singers to create new musical expressions, leading to new versions and eventually to new aria types that enrich the repertoire. These processes provide the basis of a nuanced understanding of the “preexistent” nature of tunes and to suggest the creativity of the singers.

6. 《以每周的麦西莱普应对极端主义：维吾尔社区的音乐活动与中国非物质文化遗产》（“A weekly mäshräp to tackle extremism”: Music-making in Uyghur communities and intangible cultural heritage in China）

作者：Rachel Harris

来源：Ethnomusicology, Vol. 64, No. 1 (Winter 2020): 23–55.

摘要：本文研究并评论了UNESCO（联合国教科文组织）对一项非物质文化遗产的提名和认定，以及其后的发展状况。中国现在是UNESCO非遗项目的重要合作伙伴，然而中国各地非遗项目的实施和经验却严重不平衡。就以穆斯林为主要人口的新疆维吾尔自治区所面临的特殊挑战而言，UNESCO文献中的核心词语“社群”是关键所在。我们谈到社群的时候指的是什么？为什么我们认为它很重要？处于社会语境中的音乐活动如何促进社群的发展?非遗项目又在如何改变这种状况？

Provides an in-depth study and critique of the nomination and inscription of an item on UNESCO’s lists of intangible cultural heritage and the developments following its acceptance. China is now a major partner in UNESCO’s heritage projects, but the application and experience of heritage initiatives across China have been highly uneven. In the case of the particular challenges presented in the contested, predominantly Muslim Xinjiang Uyghur Autonomous Region, the question of community, a term that lies at the heart of the UNESCO literature, is the key. What do we mean by community, and why do we think it matters? How does socially embedded music-making facilitate community, and how do heritage initiatives change that?

7. 《在中国乐坛应对和规避（自我）审查》（Navigating and circumventing (self)censorship in the Chinese music scene）

作者：Nathanel Amar

来源：China Perspectives, no. 2020–2 : 25–33.

摘要：2018年1月，中国的嘻哈“审查”事件引起了国际媒体的广泛报道，但这并不能说明当代中国存在的多种形式的音乐审查机制。从朋克摇滚社区内部的观察表明，责任机构监督从发行专辑到演唱会和音乐节各方面的管理。中国乐坛的审查机制包含自我审查，而与此同时，艺术家仍然有可能规避审查或与管理者进行协商。

Although the case of “censorship” of Chinese hip-hop in January 2018 has led to extensive news coverage in the international press, it does not account for the multiple forms of musical censorship that exist in contemporary China. According to observations from within the punk rock community, responsible institutions oversee musical productions from the release of albums to the management of concerts and festivals. Censorship mechanisms in the Chinese music scene include self-censorship, required for the domestic release of an album, but also make it possible to circumvent censorship, and for artists to negotiate with the authorities.

8. 《巡回聆听：全球60年代的中国流行音乐》（Circuit listening: Chinese popular music in the global 1960s）

作者：Andrew F. Jones

来源：University Of Minnesota Press (March 17, 2020)

摘要：毛时代的中国与60年代全球青年反抗运动的音乐有什么关系？曼波舞曲、披头士、鲍勃·迪伦又是如何在亚洲的冷战前线发声的？当晶体管被引入革命时期的中国大陆和冷战时期的台湾，摇滚乐和革命歌曲等看似不同的音乐得以并存。美国军事设施成为英语流行音乐在东亚地区的传播渠道，而电子消费品则帮助流行偶像邓丽君为毛时代画上了句号，从而永远地重塑了当代中国的声音景观。国语天后葛兰和台湾民谣歌手陈达等艺人被置于更广阔的地缘政治和科技背景之下，成为了一部多角度的世纪中叶华语流行音乐史和媒体史的一部分，以探讨华语音乐在60年代流行音乐革命中所扮演的角色。

What did Mao’s China have to do with the music of youth revolt in the 1960s? And how did the mambo, the Beatles, and Bob Dylan sound on the front lines of the Cold War in Asia? As the transistor was introduced to revolutionary China and its Cold War counterpart in Taiwan, music as seemingly disparate as rock and roll and Maoist anthems came to exist in parallel. U.S. military installations came to serve as a conduit for the dissemination of Anglophone pop music into East Asia, and consumer electronics helped the pop idol Teresa Teng bring the Maoist era to a close, remaking the contemporary Chinese soundscape forever. A number of the most famous and best loved Chinese singers and cinematic icons, including the Mandarin diva Grace Chang and Taiwanese folk troubadour Chen Da, are placed in a larger geopolitical and technological context, to offer a multifaceted history of Chinese-language popular music and media at mid-century, and an unprecedented look at the role Chinese music played in the ’60s pop musical revolution.