曹本冶教授“民族音乐学理论与方法（二）”课程第十篇文章

Nettl, Brono. 1998. “Arrows and Circles: An Anniversary Talk about Fifty Years of ICTM and the Study of Traditional Music.” Yearbook for Traditional Music 30: 1-11.

“历史的变化与循环：关于ICTM的五十年和音乐研究传统——在ICTM五十周年纪念上的讲话”

主讲：陈晨  专业：传统音乐

一、引言

学术研究者总是反思的两个问题：“What have we learned?”更彻底"Have we really learned anything in all that time?"

本文题目的来源：A book by Stephen Jay Gould, Time's Arrow, Time's Cycle

详解：历史是一种自我重复的过程，从学科的历史是由一系列范式构成的。

本文的内容与目的是通过回顾历史，解释民族音乐学学科在哪些方面经历历史的循环、重复与重新发现，统一的保持，在哪些方面跟随着历史的改变，从而引发反思。

二、似曾相识

v     今昔不同的社会政治大环境

v     今昔不同的学科大环境

三、作者自我小传

作者的三个亲身经历，揭示 1947年前后民族音乐学学科的现象。

™    Prague-Walter Kaufmann-Indian music

™    Prague-Father-78-rpm records and later discography

™    Bloomington-Herzog-"Folk and Primitive Music."

总结民族音乐学在1947年后的50年，发展的基线 P3/4：

™    study of non-Western and folk music – the study of the exotic which requires special methods

™    the attachment of non - Western music to the Western for suggesting a skewed  chronology 年表 of world music

™    the unification of an eclectic methodology

v     提问并引出下文 P3/5 ：

™    我们在过去的五十年中学到了什么，我们是在循环还是在进步？

™    引出下文段落a) What is ethnomusicology? b) What is music? c) What is a music - or rather, what is our conception of the world of music? d) What kind of people are we? and finally, e) Have we done anyone any good? Needless to say, I have no answers but want to comment briefly and selectively from the viewpoints of circle and arrow.

四、什么是民族音乐学？

循环一 ：对于学科Ethnomusicology的定义  P3/6-P4/1

™    Merriam: "Ethnomusicology today is an area study caught up in a fascination with itself." 1964

™    ethnomusicologists -- not numerous the number of definition and conceptualization -- very considerable.

™    “ethno” and “compare” – long discussion

循环二：学科内关注问题的一致性 P4/2

™    Peasant societies:

™    Education:

™    Music and ethnicity:

™    Technology:

™    Relationship of music and dance:

™    on folk and art music;

作者对于学科的将来提出问题：P5/1

™    …现在是否已是时间考虑我们的学科联盟是帮助了我们的学科，抑或是阻碍了它？

五、什么是音乐？

由民族音乐学家观念中的两分法，引出Folk Music的定义问题。

Folk music 定义1955：P5/3-5：民间音乐是一种音乐传统的产品，这一产品是在口头传播的过程中演进而来的。民间音乐必须包含的因素有：联系着现在和过去的连续性、因为个人或者群体自发的创造冲动而不断变化、有社群决定他的它的生存的形式。例如，未受艺术音乐或流行音乐影响的社群的原生音乐；或者，由个人创作的音乐，但被社群采纳并通过口传流传。创作的流行音乐不包括在内，因为它在社群中不发生变化，民间音乐的核心特点是在流传的过程中不断地被重置和再创造。

通过举例贝多芬的民歌改编，质疑三种folk music观点，引发反思。

六，什么是一种音乐？

循环：音乐的世界是由一系列不同划分的音乐组成的这一观点没有改变。

矛盾体：保存——变化的民间音乐

问题：对于音乐的划分，我们需要新的理论吗?

七、我们是怎样的一群人？

变化：学术和实践分家

变化：舞蹈方面逐渐削弱

问题：保持纯学术，亦或重返Bloomington当年？（当年歌舞并用的场面）

八、我们是否作出了贡献？

对于世界的好处：使世界对音乐的多样性以及音乐与舞蹈在民族人中扮演的角色更有了解。

对于学界的好处：提高了师生对于世界范围内音乐多样性的认知，而这些多样的音乐是需要多样的适合的方法去理解的

对于局内人的有争议的好处：我们的研究是否真的对于局内人有帮助？但至少我们比前人能够正视这个问题了。

九、小结

  本文是发表在ICTM五十周年庆上的主体演讲，正如作者所说，整篇文章并不是要回答问题，而是提出文体引发思考，对于民族音乐学的反思、对于民族音乐学方法论的反思、对于民族音乐学家本身角色的反思、以及对于学科的研究对象、50年来学界贡献的反思。

曹老师的点评：

这篇文章应该与前面课堂上已经讨论过的Christensen、Nettl（1988）的文章互相对照来看。

Structure of the Article

Introduction

The Field: What is ethnomusicology? [Definition of ethnomusicology]

Object of Study: What is music?

Unit of the object under study: What is “a” music?

Us the researchers: What kind of people are we?

Conclusion: Have we done anybody any good?

以下是曹老师希望同学在文章中注意的地方：

Introduction

p. 1

It's an honor for me to have been invited to speak on this occasion of the golden anniversary of the ICTM.

If we are an organization of people devoted to scholarship and research, looking back to the time of our origins, we should be asking, “What have we learned?” or with a bit more bite, “Have we really learned anything in all that time?” A book by Stephen Jay Gould, Time’s Arrow, Time’s Cycle (1987), suggested my title to me. It juxtaposes the resigned-sounding adage, “history repeats itself”….

So I want to ask to what extent we in ethnomusicology have been following the circle of history, repeating and rediscovering, maintaining consistency, and to what extent we have followed history’s arrow. I’d like to draw you back to the era or period of history about 50 years ago, and more, so that we can see in what ways our organization and our profession have moved forward【“arrow”】, and in what ways our history has been cyclic.

p. 1 – 2

In 1987, our fortieth anniversary, several spoke about the history of ICTM, its relationship to the field of ethnomusicology as a whole, the interface between European and American styles of scholarship, our institutional history (see e.g. Christensen 1988, Nettl 1988, Stockmann 1988)【前两篇文章在课堂上已讨论过】… there are various histories of the field that ascribe its onset to Guido Adler's (1885) seminal article, to the earliest field recordings of 1891, to the publication of the Sammelbande fiir vergleichende Musikwissenschaft in 1922, to Jaap Kunst's first edition (Kunst 1950), to the establishment of the Society for Ethnomusicology in 1955, or even 【注意 “or even” 这个用词（“就算连”）】to the publication of The Anthropology of Music (Merriam 1964).【作者的意思：“‘甚至连’Merriam的The Anthropology of Music也算在历史时刻之内”——给人的感觉似乎有作者与Merriam有旧账未清之感】… origins are always obscure. In any event, when IFMC was founded in 1947, the term “ethnomusicology” wasn’t yet established, and when it was, perhaps a few years later, many of our members really wouldn’t have felt comfortable with such a highfalutin word.

p. 3

For my third incident I mention taking a course in 1949 at Indiana University in Bloomington taught by George Herzog, a man also reared not far from here, in Budapest…Herzog brought into this course the eclectic approach that characterized his work and also that of many in our field: the analytic folk music study of Bartok and Kodaly with their emphasis on authenticity; the analytical paradigms developed by Hornbostel; the holistic view of culture characteristic of the American anthropology of Franz Boas; the folkloristics of the Scandinavian school and its historical-geographic method, and pre-C