中国东北地区音乐研究
曾经的哈尔滨人
——犹太侨民伯尔顿记忆中的哈尔滨音乐生活
宫宏宇
摘 要：文章以曾在哈尔滨生活过多年，并随哈尔滨交响乐团赴日本演出的、已故美国南加州大学教授彼得·伯尔顿（Peter A. Berton， 1922-2014）有关哈尔滨音乐生活的文章和回忆为主，佐以《以色列原居中国犹太人协会简报》、国外哈尔滨犹太人网站、美国大屠杀博物馆网站上的相关通讯、照片和文字，来重构20世纪20-40年代哈尔滨的音乐生活。作为哈尔滨音乐活动的参与者与见证者，伯尔顿的回忆不仅为我们研究那个时代哈尔滨都市声音景，观提供了珍贵的第一手资料，对我们了解当时哈尔滨专业及社会音乐的发展、音乐社团、音乐与政治、从哈尔滨走向世界的音乐家等也提供了鲜活的例证。
关键词：哈尔滨；伯尔顿；犹太乐人；哈尔滨交响乐团；日本之旅
作者简介：宫宏宇（1963— ），男，哲学博士，华中师范大学音乐学院高端外国专家项目首席研究员，新西兰国立尤尼坦理工学院研究员（武汉 430079）。
Reconstructing the Vibrant Musical Life of Harbin Jewish Diaspora
——Ex-Harbin Musicians in the Memories of Peter Berton
Gong Hongyu
Abstract： Born in Białystok， Poland， into a Russian-speaking family， Peter A. Berton （1922-2014） and his mother joined his father in Harbin in 1928. There he lived from 1928 to 1941 and studied at the local Talmud-Torah and various other schools before finding his métier as a talented violinist. Drawing primarily on his memoirs， unpublished conference papers， English newspapers， Jewish periodicals， and other writings， this paper attempts to reconstruct the vibrant musical and cultural life of Harbin Jewish diaspora from the 1920s to the early 1940s and argues that music is a particularly rewarding field for examining transnational musical flows. Besides highlighting Jewish Musicians’ role in the dissemination of Western Music in Harbin， the paper also discusses the history of Jewish refugee musicians within the Harbin setting and the musical importance of Harbin as a Sino-European contact zone.
Key words： Harbin； Peter Berton； musicians； Jewish diaspora； Japan tour
金源完颜宗尹墓“八面乐舞石幢”罕见乐器图考
郭长海，郭阎梅
摘 要：“金源”是女真族人的肇兴之地，曾经孕育了包括金源乐舞在内的金源文化。黑龙江省伊春市金山屯金山古城遗址墓葬群特别是完颜宗尹墓等金代贵族墓葬出土的大量珍贵文物，为我们认识金源文化，特别是认识女真贵族乐舞文化提供了依据。此墓葬群出土的“八面乐舞浮雕石幢”证实了金代女真贵族用乐中筚篥、箜篌、金拨胡琴、小忽雷、羊琴等乐器的存在，一改此前金代贵族用乐只见记载，不见实物的现象，为新时代金源乐舞文化研究增添了新材料，对书写金代音乐历史具有重要意义。
关键词：金源文化；八面乐舞石幢；乐器
作者简介：郭长海（1946—2022），男，法学学士，执业律师，原中国辽金契丹女真史学会副秘书长，中国古文字研究会会员，黑龙江省非物质文化遗产《阿勒楚喀语俗》代表性传承人，哈尔滨市非物质文化遗产《女真音乐》代表性传承人，哈尔滨市社会科学院客座研究员。郭阎梅（1975—），女，公共管理（MPA）硕士，哈尔滨市住房和城乡建设局干部（哈尔滨 150010）。
An Iconography Research of Rare Musical Instrument“Eight-side Music and Dance Rilievo Stone Block” from the Tomb of Wanyan Zongyin in Jinyuan
Guo Changhai， Guo Yanmei
Abstract： Jinyuan， where the Nvzhen people started and flourished， nurtured the Jinyuan culture which including its music and dance. Burial groups in Jinshan ancient city site which found in Jinshan Tun Village， Yichun of Heilongjiang Province， notably the tomb of Wanyan Zongyin and other Jin dynasty noble burials unearthed a large number of valuable relics. They provide the basis for understanding of the Jinyuan culture， especially the Nvzhen noble music and dance culture. The “Eight-side Music and Dance Rilievo Stone Block” confirmed the Jin dynasty Nvzhen noble music instrument which just had recorded in the literature， such as Bili， Konghou， Huqin with golden pluck， Small Khu Lei， Yangqin. The discovery not only changed the situation that relevant record just existed in literature， but also provides new materials for the Jinyuan music and dance culture research in new age. It is great significance for the history writing about the music and dance in Jin dynasty.
Key words： Jinyuan culture； eight-sided music and dance stone block； musical instruments
“文化流人”在黑龙江近古音乐文化发展中的作用与意义
马 楠
摘 要：黑龙江是近古以来封建政权的主要流放地之一。在历史上的这一地区，曾两度出现“文化流人”的特殊群体。“文化流人”由金代“实内地”到清代“徙塞外”，客观上对黑龙江近古音乐文化发展有一定的积极作用和意义。“金初四帝”时期采取文化掠夺的方式，对中原礼乐文化进行了“三虏”，助推金代“始有金石之乐”。清代“文化流人”在被动情态下，发挥了文化传播的重要作用，使中原音乐文化在黑龙江由仕宦阶层走向民间大众，激活了流戍地的社会文化生活，为黑龙江音乐文化的近代发展奠定了基础。
关键词：文化流人；黑龙江；近古；音乐文化
作者简介：马楠（1980—），男，回族，金沙威尼斯欢乐娱人城副教授，艺术学系2020级博士生（哈尔滨 150028）。
The Role and Significance of “Intellectuals Diaspora” in the Development of Heilongjiang’s Recent Ancient Music Culture
Ma Nan
Abstract： As one of major exile places of recent feudal regimes， Heilongjiang Province had accepted twice intellectual diasporas. No matter the policy that “affluence for Shangjing” in Jin Dynasty or the “banishment to the area north of the Great Wall” in Qing Dynasty，the diasporic intellectuals has certain positive effects and significance to Heilongjiang recent ancient music cultural development. The cultural plunder policy of the first four Jin emperors had spoliated the central plains ritual music culture on three aspects，but they contributed the Jin dynasty “began the Jin Shi ritual music”. Although the diasporic intellectuals of Qing dynasty played a role in the dissemination of culture passively，they not only spread the music culture of the central plains from the official and to common people in Heilongjiang and activated the social and cultural life of the exile place，but also laid the foundation for the modern development of music culture.
Key words： intellectuals diaspora； Heilongjiang； recent antiquity； musical culture
俄罗斯音乐研究
俄罗斯“马车夫歌曲”文化中的璀璨珠玑
——“俄罗斯民歌”《三套车》源考
孙兆润
摘 要：流行在我国的俄罗斯民歌《三套车》的俄文名称为《看，三套邮车在飞奔》（Вот мчится тройка почтовая），其实是一首出现在1901年的创作歌曲。因为历史与其他的原因，遗失了词曲作者归属，再加上人民喜闻乐唱，遂将之划作了“俄罗斯民歌”的行列。在中俄文化的传播流变中，在歌曲译配和诗歌涵义的认知上也存在一些误区。文章旨在摆脱以往个案分析的局限，试图以欧洲浪漫主义思潮东渐和俄罗斯民族主义思潮勃兴为背景，以历史悠久的“马车夫歌曲”文化为视角，正确地认识和解读这首俄罗斯名歌。
关键词：俄罗斯民歌；浪漫曲；《三套车》（Тройка）；特列佛列夫（Трефолев）；源考
作者简介：孙兆润（1972— ），男，音乐艺术博士，金沙威尼斯欢乐娱人城音乐学系副教授（哈尔滨 150028）。
Coachman Songs：A Shining Jewel in Russian Culture
——A Study on the Source of the Russian Folk Song Troika
Sun Zhaorun
Abstract： The popular Russian song Troika that be seen as a folk song in China is a wrote song actually， which named Look， Here rushes the postal troika in 1901. But it is unfathered for historical and other reasons. Since its popularity， it was classified as a “Russian folk song”. There are also some mistakes in the translation and misunderstanding in the meaning of the poem during the transmission in China. Got rid of the limitations of the previous studies， the article interprets this famous Russian song not only based on the background that the tendency of European romanticism eastward spread and the rise of Russian nationalism， but also from the perspective of the “coachman songs” culture history.
Key words： Russian folk song； romantic song； Troika； L.N. Trefolev； source study
第一个那乃/赫哲剧团
［俄］Я.С.克里扎诺夫斯卡娅著，顾伟泉译
摘 要：1934-1940年间，在俄罗斯远东地区的奈欣（Найхин）那乃民族村出现了第一个那乃剧团。本文根据历史档案和文献记载，追溯了该剧团在当时上演的包括改编传统民间故事、各种仪式和民族传统表演、戏剧歌曲创作与表演等在内的剧目，以及那乃剧团在政策上受到的干预等。文章指出，在那乃剧团的风格形成中，那乃民族与俄罗斯民族在两种语言或标志的层面上呈现出相结合的态势，即在俄罗斯专业剧团的影响下，以那乃民族资料素材为基础呈现出传统层与现代层的结合。
关键词：那乃民族；民族剧团；民间剧团；20世纪30年代文化
作者简介：本文原作者Крыжановская Яна Станиславовна，俄罗斯哈巴罗夫斯克国立文化学院文化学与博物馆学系主任、教授，文化学博士，曾发表论文60余篇。顾伟泉（1965— ），男，管理学硕士，金沙威尼斯欢乐娱人城图书馆馆长、研究馆员，东北民歌艺术促进会艺术顾问（哈尔滨 150028）。
The First Nanai-Hezhen’s Troupe
Y. S. Kryzhanovsrkaya， Translated by Gu Weiquan
Abstract： The paper is devoted to the history of the first Nanai’s troupe which existed in 1934–1940 in the national settlement of Naykhin. Based on archival documents and media of those years the author restored the repertoire of the unique group， including staging of the Nanai’s fairy tales， ceremonies， national games， and dramatized versions of songs， as well as politically vital interludes. Combination of two linguistic layers or codes – traditional， connected with the national material， and modern， appeared under the effect of the Russian professional theater – can be distinguished in style of the theater.
Key words： the Nanai， ethnic troupe， folk troupe， culture of the 1930s
西方音乐史研究
中古拜占庭音乐传统中的以颂保持音：形态、意义与影响
李易雨篪，徐凤林
摘 要：以颂保持音是中古时期拜占庭调式体系与礼仪思想结合的独特产物，拥有辅助颂歌演唱、支撑乐曲结构和象征神圣理念的三重功能，其主要目的是保证教会调式在颂歌中的统治地位。以颂保持音高度依赖八调体系的权威性和完整性而存在。在听觉上，以颂伴唱的颂歌与部分西欧早期复调风格有相似之处，但其音乐思维与复调存在根本差异，也缺乏向复调发展的动力。中古时期拜占庭文化影响区内的各个音乐传统中，保加利亚传统延续了以颂保持音技法，而罗斯传统中的保持音遗失了调式意义，其后在15—17世纪渐趋式微，这一区别的关键原因在于两个传统吸收拜占庭调式体系的完整程度不同。
关键词：“以颂”保持音；拜占庭音乐；俄罗斯音乐；东正教音乐；中世纪音乐
作者简介：李易雨篪（1994— ），女，北京大学哲学系宗教学系宗教学东正教专业2019级博士生（北京 100871）；徐凤林（1964— ），男，哲学博士，北京大学哲学系宗教学系教授、博士生导师（北京 100871）。
Ison in the Medieval Byzantine Musical Tradition: Form, Meaning and Influence
Li Yiyuchi， Xu Fenglin
Abstract： Ison is a unique product of the medieval Byzantine tonal system and liturgical thought. Ison has three functions， i.e. accompaning the singing of chants， structuring the music and symbolizing the sacred concept. Ison is highly dependent on the authority and integrity of the “octave” （ὁ Ὀκτώηχος） system. Aurally， chants sung with Ison have similarities to some early Western European polyphonic styles， but their musical thinking differs fundamentally from polyphony and lacks the impetus to develop toward it. Among the various musical traditions in the zone which influenced by the Medieval Byzantine culture， the Bulgarian tradition continued the technique of chanting with Ison， while Ison in the Russian tradition lost its tonal significance and subsequently declined in the 15th and 17th centuries. The key reason for this difference lies in the different degrees of completeness of the two traditions’ absorption of the Byzantine modal system.
Key words： ίσον （or ισοκράτημα）； Byzantine music； Russian music； Orthodox music； medieval music
教堂奏鸣曲——功能或者体裁
（英）彼得·奥索普著，贾抒冰译
摘 要：巴洛克时期的“教堂奏鸣曲”（sonata da chiesa）虽然有许多定义，但如果把它放置在这一体裁形成之初、尤其是对于这一形式有着重要贡献的意大利作曲家科雷利及其同时代音乐家的创作语境中，我们会发现与教科书或者传统定义非常不同的一些解释。这些解释能够让我们充分认识到300年前这一体裁形式的建立对于欧洲器乐发展的原创性意义和重要影响力。文章是著者彼得·奥索普（Peter Allsop）对意大利巴洛克“教堂奏鸣曲”的论述，从这一器乐形式最为基本的概念认知，结合重要的第一手书信文献，构建出了巴洛克时代“教堂奏鸣曲”本真的历史定位
关键词：巴洛克时期；教堂奏鸣曲；定义；原创性意义
作者简介：著者：（英）彼得·奥索普（Peter Allsop），英国埃克塞特大学退休教授，中央音乐学院、中国音乐学院访问教授。译者：贾抒冰（1983— ），男，英国布里斯托大学音乐学博士，中央音乐学院音乐学系副教授，硕士生导师（北京 100031）。
The Church Sonata—Function or Genre
Peter Allsop，Translated by Jia Shubing
Abstract：Although the Baroque“da chiesa”has many definitions，we can find quite different interpretations from the textbooks or traditional definitions which placing it in the context of the genre at its inception，especially when the Italian composer Corelli and his contemporaries who made important contributions to the form. These interpretations enable us to fully appreciate how the establishment of this genre formed 300 years ago influenced on the development of European instrumental music and its original meaning. Based on the basic conceptual of the Italian Baroque instrumental music“da chiesa”and combined with important first-hand epigraphic documents，the author concludes the genre’s veridical position in the history.
Key words：Baroque period；da chiesa；definition；original meaning
永恒的“情书”
——贝多芬《致爱丽丝》中字母“E”的隐喻与两性关系解读
钱滢舟
摘 要：《致爱丽丝》（Für Elise）是贝多芬最出名的钢琴小品之一，是他献给心爱女子的“情书”。在贝多芬的许多作品中，总是显现出他对于建立美好两性关系渴望与逃避的心理。虽然西方学术界自20世纪80年代起，对该作品中主人公“爱丽丝”的身份，开展激烈的探讨。但由于作品自身篇幅短小且技巧简单，故而，从音乐本体进行深度学术研究一直较为缺乏。文章便是从作品本体出发，剖析作品中关于字母“E”的隐喻，进一步对作曲家与女性的关系，进行解读。
关键词：贝多芬；《致爱丽丝》（Für Elise）；“情书”；曲式；隐喻
作者简介：钱滢舟（1992— ），女，艺术学博士，南昌大学艺术学院讲师（南昌 330031）。
The Eternal “Love Letter”
——The Metaphors of the letter “E” and Interpretation of Gender Relations of Beethoven’s Für Elise
Qian Yingzhou
Abstract： Für Elise is one of Beethoven’s most famous piano pieces which can be seen as a “love letter” to a woman. In many of his works， Beethoven always shows his paradox on desire and shrink of love. Although since the 1980s， the Western scholars have intense discussions on the identity of the protagonist Elise，it still lack of in-depth research about the music due to its short length and simple skills. This article analyzes the metaphor of the letter “E” and interprets the relationship between the composer and women in the work.
Key words： Beethoven； Für Elise； Love Letter； Musical Form； Metaphors
音乐书写中的“聆听者”：包法利夫人情感认知的音乐建构
王希翀，单金龙
摘 要：小说中的音乐书写具有跨媒介叙事的特征。音乐书写中读者通过文字阅读人物所经历的音乐事件，而人物成为文本所述音乐的实际接收者，即听者。由此，研究者可通过相关音乐叙事的分析方法，揭示人物的情感状态与变化，挖掘作品的跨媒介叙事表征及范式。本文以福楼拜作品《包法利夫人》中的音乐书写为例，从爱玛的审美经验的生成与爱情认知的投射两个阶段，探究爱玛爱情认知及其恋爱对象的音乐建构问题。
关键词：福楼拜；《包法利夫人》；音乐书写；情感认知
作者简介：王希翀（1988— ），男，文学博士，湖北大学文学院讲师（武汉 430011）；单金龙（1981— ），男，武汉音乐学院音乐学系讲师，上海音乐学院音乐学系2021级博士生（武汉 430060）。
The“Listener”in Music Scenario: Construction of Madame Bovary’s Emotional
Cognition with Music Activities
Wang Xichong，Shan Jinlong
Abstract：Writing about music activities in novels is characterized as cross-media narrative.Through text，the readers read these scenarios experienced by characters who are actual receiver of the music，i. e. ，the listener. Therefore，the researchers can reveal the emotional states and the change of the characters upon the analysis of the narrative about music. Taking the music scenarios in Flaubert’s Madame Bovary as an example，this article explores the construction of Emma’s love perception and her love object with music activities from two aspects：the generation of Emma’s aesthetic experience and the projection of love perception.
Key words：Flaubert；Madame Bovary；writing about music；emotional cognition
中国音乐史研究
新世纪以来中国歌剧研究数据的分析与思考
丁 庆
摘 要：我国对中国歌剧研究，主要是对新世纪以来中国歌剧创作、表演和发展的学术研究，包括期刊论文、硕博论文、学术专著等。文章通过文献计量统计分析方法，对研究论文数据进行分析，可清晰地看到中国歌剧研究的整体发展状况，通过对现有研究成果的分析，在梳理研究的发文量、高被引率、高影响力、发文机构和作者等，提供直观、客观的示图和表格数据，为客观分析中国歌剧研究的状况与未来研究的路径，提供了研究数据。
关键词：中国歌剧；发文量；高被引；文献计量分析；数据分析
作者简介：丁庆（1969— ）男，曲阜师范大学音乐学院副教授、硕士生导师（山东日照 276826）。
Analysis and Reflections on the Research Data of Chinese Opera since the New Century
Ding Qing
Abstract： The researches of journal， master’s and doctoral dissertations， and academic monographs about Chinese opera in China mainly focuses on the academic research about the its creation， performance and development since the new century. Based on the bibliometric statistical analysis of these researches， the article presents the overall research development of Chinese opera. Through the analysis of existing researches in terms of citation rate， influence， publication institutions and authors， the article sorted direct and objective schematic and tabular data which provides Chinese opera research an objective analysis of its status and the path of future research.
Key words： Chinese opera； publications data； citation rate； bibliometric analysis； data analysis
1840年以前管风琴音乐文化在中国的发展研究
唐晓博
摘 要：管风琴是历史最悠久的键盘乐器之一，也是最早传入中国的键盘乐器之一。那么，管风琴是何时传入中国的？它在中国又进行了怎样的传播与发展？这是文章探索的主旨。文章以管风琴为研究对象，对管风琴的传入，以及1840年之前管风琴音乐文化在中国的传播脉络，进行历时性的梳理，同时，对比各个时期国外的管风琴发展，进行共时性的比较分析。
关键词：1840年以前；管风琴；中国；传播；发展
作者简介：唐晓博（1982— ），女，文学硕士，沈阳音乐学院现代音乐学院教授（沈阳 110002）。
The Culture Dissemination and Development of Organ Music in China before 1840
Tang Xiaobo
Abstract： The organ is one of the oldest keyboard instruments and one of the first keyboard instruments introduced to China. So the article is mainly themed when did the organ come to China and how it disseminated and developed in China bofore 1840. Upon the chronological study on the culture dissemination of organ music in China， the author compares the development of the organ abroad in various periods， so that provides a synchronic comparative analysis.
Key words： before 1840； organ； China； dissemination； development
张季让儿童歌舞剧《快乐之乡》研究
樊右伟，王 岩
摘 要：儿童歌舞剧《快乐之乡》是音乐家张季让在组建苏州丙寅乐团初期所创作的唯一一部儿童歌舞剧。本文通过对该剧本的创作背景、艺术特征及历史价值等方面进行全面深入的研究，力求再现作品的真实面貌，以丰富学界对张季让音乐创作多元化的认识，印证20世纪二三十年代“西乐中用”之理念对多体裁中国音乐发展的重要作用。
关键词：张季让；儿童歌舞剧；《快乐之乡》；丙寅乐团
作者简介：樊右伟（1982— ），男，艺术学博士，金沙威尼斯欢乐娱人城讲师（哈尔滨 150028）；王岩（1976— ），女，文学博士，金沙威尼斯欢乐娱人城教授，博士研究生导师（哈尔滨 150028）。
Research on Zhang Jirang’s Children Song and Dance Drama The Land of Happiness
Fan Youwei， Wang Yan
Abstract： The The Land of Happiness is the only children song and dance drama created by the musician Zhang Jirang at the early stage of forming the Suzhou Binyin Ensemble. Aiming to reproduce the true situation of the work， the article discoveries the background， artistic characteristics and historical value of the drama comprehensively， in order to enrich the knowledge about the diversity of Zhang Jirang’s musical creation. This research also proves the important role of the concept of “Western music for Chinese utility” in the 1920s and 1930s in the development of multi-genre Chinese music.
Key words： Zhang Jirang； children dramas； The Land of Happiness； Binyin Ensemble
民族音乐学研究
参酌吸收 辨析阐微
——吴梅论南北曲字格的使用规则
刘 玮
摘 要：南北曲字格特指戏曲语言的字、声、音、调等问题，字格的正确使用是曲调合律的一个重要因素。近代曲学大师吴梅参酌吸收前人观点，对南北曲的曲音、衬字、务头等诸多难题一一裁断辨析。吴梅对南北曲字格使用规则的阐释具有简明扼要、清晰直观的特点，符合“曲”体具备的音乐与文学的双重属性，对当下的昆曲实践活动仍提供了一定的理论支撑与实践参照。同时，在文化自信与大力弘扬传统文化的时代语境下，如何对待传统的戏曲音乐理论，如何妥善处理传统与现代的戏曲音乐理论的关系，也是值得当代戏曲音乐工作者关注与思考的重要问题。
关键词：吴梅；曲音；衬字；务头；南北曲；使用规则
作者简介：刘玮（1982— ），女，文学博士，武汉音乐学院音乐学系教师（武汉 430060）。
Refer to Absorption, Differentiation, Analysis
——Wu Mei on the Usage Rules of the North and South Qu Characters
Liu Wei
Abstract： The character Zige of Nanbei opera refers to the problems of character， sound， tone and so on. The correct use of character Zige is an important factor in the harmony of melody. Wu Mei， a master of modern Quxue， absorbes the views of predecessors ，and judges and discriminates many difficult problems such as melody sound， lining characters and Wutou. Wu Mei’s interpretation of the rules for the use of the character in the north-south opera is concise， clear and intuitive， which conform to the dual attributes of music and literature of the Qu， and still provides a certain theoretical support and practical reference for the current practical activities of Kunqu Opera. At the same time，in the context of cultural confidence and vigorous promotion of traditional culture， how to treat the traditional opera music theory and how to deal with the relationship between traditional and modern opera music theory has also become an important issue that contemporary opera musicians must pay attention to.
Key words： Wu Mei； tone； lining characters； Wutou； Qu of north-south opera； usage rules
作为展演的族群文化记忆
——广东乳源过山瑶“拜盘王”仪式音声考察研究
肖志丹，赵书峰
摘 要：乳源过山瑶“拜盘王”仪式是族群特有的文化记忆和民俗信仰，仪式中“近音乐”的“族性歌腔”的艺术特点、“近语言”的具有特定观念的念诵腔以及仪式中“法器”音声的象征隐喻，体现出“拜盘王”传统是一种具有传承性、历史性、神圣性的文化形态。而“拜盘王”仪式活动在官方主办、群体参与的方式下，以及在“非遗”文化、旅游文化、媒体文化等新的文化语境中形成了多个空间并存，多种景观互文，集神圣、祭祀、表演、审美等属性为一体的文化展演。当下的“拜盘王”仪式展演既承载着过山瑶集体记忆的传统基因，亦重构了其认同的多重性、文化景观的多层性和仪式功能的多样性。
关键词：拜盘王；仪式展演；文化记忆；族性歌腔；音声景观
作者简介：肖志丹（1988— ），男，湖南师范大学音乐学院2021级博士研究生，湖南女子学院讲师；赵书峰（1972— ），男，文学博士，湖南省“芙蓉学者”特聘教授、湖南师范大学音乐学院教授、博士生导师、海南大学兼职教授（长沙 410081）。
Exhibition as An Ethnic Cultural Memory
——A Study on the Sound of “Worshiping of the Pan King” in Ruyuan Guoshanyao, Guangdong
Xiao Zhidan， Zhao Shufeng
Abstract： The ceremony of Worshiping of the Pan King in Ruyuan Guoshanyao is a unique cultural memory and folklore belief of the ethnic group. The “similar to music” ethnic tunes， the “similar to language” chants with specific concepts and the symbolic metaphors of the Faqi ［musical and other instruments used in the belief ceremony］ sounds reflect that the Worshiping of the Pan King tradition is a cultural form which upon the inheritance， history， and sanctity. The Worshiping of the Pan King is sponsored by official and participated by the public community. In the new cultural contexts that include Intangible Cultural Heritage， tourism culture， and media culture， etc. The worship forming a cultural exhibition which not only characterized with coexistence of multiple spaces and the intertext of multiple landscapes， but also integrates sanctity， ritual， performance， and aesthetic attributes. Nowadays， The Worshiping of the Pan King both carries the traditional gene of the Guoshanyao people’s collective memory and reconstructs the multiplicity of its identity， cultural landscape， and ritual functions.
Key words： Worship of the Pan King； ritual performance； cultural memory； ethnic song； soundscape
