摘要
海陆丰白字戏打击乐传统的历史延传过程,并非是被其他文化传统完全替代或改造的过程,而是与其他文化传统协商(negotiation),从而不断调适自身的过程。这一过程中,白字戏打击乐艺人们有着维系自身传统的能动性(agency),他们依据外部环境发展的需要,在积极传承和保留白字戏打击乐传统特质的同时,又借用或吸纳过去从未出现过的新的音乐文化元素。由此,白字戏打击乐在不同历史阶段衍生出各种变体,但各变体间又保持着整体的连续性延传至今。
The Baizi Theatre percussion tradition is not a mere process of complete replacement or transformation by other cultural traditions.Instead,it is a complex process characterized by negotiation and adaptation,whereby the Baizi Theatre percussion tradition engages with and integrates elements from other cultural traditions.Within this process,Baizi theatre percussionists actively exercise their agency to safeguard their traditions.This agency is evident in the deliberate efforts of artists to inherit and preserve the distinctive characteristics of the Baizi Theatre percussion tradition amidst a changing cultural environment.Consequently,various variants of Baizi Theatre percussion have emerged at different stages in history,while maintaining a sense of continuity among these variants.Throughout this negotiation and adaptation,the Baizi Theatre percussion tradition has demonstrated resilience,enabling it to navigate cultural shifts and retain its identity.By actively engaging with and negotiating its place within evolving cultural landscapes,the Baizi Theatre percussion tradition has continued to evolve while upholding its core essence.
出处
《中国音乐》
CSSCI
北大核心
2023年第6期69-78,共10页
Chinese Music
关键词
白字戏打击乐
音乐传统
传统再创造
协商
能动性
Baizi theatre percussion
The tradition of music
Traditional Re-Creation
Negotiation
Agency
作者简介
张毅(1997-),男,汉族,上海音乐学院2022届硕士,中国音乐学院2022级的在读博士研究生。
