地方社会变迁与民间音乐传承的嬗变——以鲁西北地区临清架鼓为例
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摘要
从艺术发生学的角度来看,民俗生活是民间音乐产生的基础与发生的场景,民间音乐则是对民俗生活自身的艺术观照。民间音乐之所以蕴具较为强劲的艺术生命力,与其特殊历史时期独特的艺术生境有着复杂深厚的血脉联系,它既是丰富生动的民俗生活的一部分,又是人们对自身生命的文化意识和审美表达。山东运河区域曾为鲁西民间音乐"临清架鼓"提供了一个展演、交流的广阔舞台和空间,并为地方社会营造出一种独特的艺术氛围。随着京杭运河交通和区域社会经济的整体衰落,临清架鼓从生产与消费大致平衡的传统社会,转入到以消费主义和现代艺术为取向的新语境中。一方面,它失去了乡民深度参与所引发的狂欢景观;另一方面,它以一种非物质文化遗产的身份找寻着现代生存、传承的新路径。
From the perspective of art genesis,folk life is the basis of folk music creation and the scene of folk music performance,while folk music is the artistic care of folk life itself.The reason why folk music has a strong artistic vitality involves complex and profound connections with its unique artistic environment in special historical period.It is not only apart of the rich and vivid folk life,but also the cultural consciousness and aesthetic expression of people's own life.The Shandong canal area has provided a broad stage and space for the performance and communication of Linqing drum in West Shandong,and created a unique artistic atmosphere for local society.With the overall decline of the traffic of Beijing-Hangzhou Grand Canal and regional social economy,Linqing drum has moved from a traditional society with a rough balance between production and consumption to a new context oriented to consumerism and modern art.On the one hand,it has lost the carnival landscape that was caused by the deep participation of the villagers;on the other hand,it seeks a new path for modern survival and inheritance by an identity of intangible cultural heritage.
From the perspective of art genesis,folk life is the basis of folk music creation and the scene of folk music performance,while folk music is the artistic care of folk life itself.The reason why folk music has a strong artistic vitality involves complex and profound connections with its unique artistic environment in special historical period.It is not only apart of the rich and vivid folk life,but also the cultural consciousness and aesthetic expression of people's own life.The Shandong canal area has provided a broad stage and space for the performance and communication of Linqing drum in West Shandong,and created a unique artistic atmosphere for local society.With the overall decline of the traffic of Beijing-Hangzhou Grand Canal and regional social economy,Linqing drum has moved from a traditional society with a rough balance between production and consumption to a new context oriented to consumerism and modern art.On the one hand,it has lost the carnival landscape that was caused by the deep participation of the villagers;on the other hand,it seeks a new path for modern survival and inheritance by an identity of intangible cultural heritage.
引文
(1)葛振家:《崔溥<漂海录>译注》,线装书局,2002年,第134页。
(2)许檀:《明清时期华北的商业城镇与市场层级》,《中国社会科学》2016年第11期。
(3)王云:《明清山东运河区域社会变迁的历史趋势及特点》,《东岳论丛》2008年第3期。
(1)转引自王明德:《明清时期临清的寺庙与城市生活》,《文史博览(理论)》2014年第3期。
(2)参见[英]安东尼·吉登斯《社会的构成:结构化理论大纲》,李康、李猛译,生活·读书·新知三联书店,1998年,第39页。
(1)朱振华:《以民众为本位:当代节日志的价值旨归与实践追求——以“传统节庆文化论坛”相关讨论为核心》,《民俗研究》2018年第1期。
(2)许檀:《明清时期华北的商业城镇与市场层级》,《中国社会科学》2016年第11期。
(3)王云:《明清山东运河区域社会变迁的历史趋势及特点》,《东岳论丛》2008年第3期。
(1)转引自王明德:《明清时期临清的寺庙与城市生活》,《文史博览(理论)》2014年第3期。
(2)参见[英]安东尼·吉登斯《社会的构成:结构化理论大纲》,李康、李猛译,生活·读书·新知三联书店,1998年,第39页。
(1)朱振华:《以民众为本位:当代节日志的价值旨归与实践追求——以“传统节庆文化论坛”相关讨论为核心》,《民俗研究》2018年第1期。