民族音乐学的实践研究

IF 0.2 1区 艺术学 0 MUSIC
S. McKerrell
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引用次数: 4

摘要

本文主张民族音乐学家不仅要将表演作为理解社会和文化领域的工具,而且要将音乐和舞蹈作为“翻译”民族音乐学的方法,这种方法侧重于艺术表演美学的翻译和交流,并将研究成果的空间理论化,这些研究成果位于原始的表演知识中,通过表演本身进行探索,生产和传递。本文简要概述了音乐表演研究中的一些关键历史讨论,以及围绕方法论定义领域(如民族音乐学)的认识论挑战,这些领域没有中心音乐经典。本文介绍了“本体抵抗”的概念,即研究者-表演者抵制将他们的非语言,躯体美学音乐知识转化为文本。本文总结了民族音乐学和与之密切相关的表演分析学术的一些最新发展,提出了一个民族音乐学实践研究的翻译模型。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Towards practice research in ethnomusicology
ABSTRACT This paper argues for ethnomusicologists to begin using performance not just as a tool to understand the social and cultural field, but to use music and dance as methods in ‘translational’ ethnomusicology that focuses upon the translation and communication of artistic performance aesthetics and to theorise a space for research outcomes that are sited in original performative knowledge, explored, produced and delivered through performance itself. The paper briefly surveys some of the key historical discussions of musical performance in/as research and the epistemological challenges that surround a methodologically defined field such as ethnomusicology where there is no central musical canon. The paper introduces the concept of ‘emic resistance’ where the researcher–performer resists translating their non-verbal, somatic aesthetic musical knowledge into text. The paper concludes by drawing on some of the most recent developments in both ethnomusicological and closely related performance-analytical scholarship to propose a translational model for practice research in ethnomusicology.
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来源期刊
CiteScore
1.10
自引率
25.00%
发文量
29
期刊介绍: Articles often emphasise first-hand, sustained engagement with people as music makers, taking the form of ethnographic writing following one or more periods of fieldwork. Typically, ethnographies aim for a broad assessment of the processes and contexts through and within which music is imagined, discussed and made. Ethnography may be synthesised with a variety of analytical, historical and other methodologies, often entering into dialogue with other disciplinary areas such as music psychology, music education, historical musicology, performance studies, critical theory, dance, folklore and linguistics. The field is therefore characterised by its breadth in theory and method, its interdisciplinary nature and its global perspective.
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