第十堂课
“问卷的语境策略和系统化”
Nketia, J. H. Kwabena. 1990. “Contextual Strategies of Inquiry and Systematization.” Ethnomusicology 34/1:75-97.
主讲：徐欣
Nketia 这篇文章是在西格纪念会议上的演讲，收录于1990年《民族音乐学》杂志冬季刊。
文章结构
l 导论
l 西格对语境的论述
l 语境的方法
l 语境的范围
l 民族志的语境
l 语境化的技巧
l 关联性分析
l 因素的分析
l 来自相关学科的观点
l 音乐的民族音乐学理论
l 结论
导论部分
主旨：对于语境和语境化的评论
选择这个话题的原因：一、以西格的整体论为出发点；二、尽管语境是一个众所周知的概念，但并不是所有的学者都使用，即使它“对人文学科的田野工作者来说非常关键。”
学者对语境的多种理解：民 族音乐学的有些学者只是将语境看做一个描述性的工具，其他学者则将其等同于社会和文化，但这样又无法知道解释音乐不能在任意一个语境、或参照系中被研究。 【特定的音乐和特定的音乐文化之间的关系。】同样，一些学者将语境化看做背景的叙事，一些又通常按照结构功能主义的术语，将其看做寻找文化中各种关系的方 法论，还有一些人将其作为一种符号学的技能。
对语境的定义：一种策略和分析的概念。
民族志的语境与语境化的技巧，包括成分、关系和因素分析的技巧，以及来自认知学科的方法。结论：源自语境分析的资料的系统化不仅对音乐这一知识领域有益，也有助于关于音乐的民族音乐学理论的建立。
Seegerian Preface to Context
作者批评了当今的学者并没有完成seeger给他们布置的“家庭作业”，就像赫佐格和瓦茨曼在5、60年代责备学者缺乏对一些问题的关注，而这些问题“霍恩波斯特尔全部提到过。”
作者接下来对西格大加赞赏，所他既是一个好的对话者、思想者、同时也是倾听者。并对西格晦涩的语言做了评价：西格一旦写道哲学或理论性的分析，就不好懂了。
西格本人也承认：这是“不好懂的写作difficult writing”,不仅因为观念本身的微妙，还因为表达观念的语言。人需要掌握他所创造出的语言，与各种表达习惯作斗争，这种表达上的两难不仅存在于那些以英语作为第二语言的人身上，甚至也困扰着英语为母语的学者们。（比如Nettl也曾指出，西格的文章比较难懂。）但作者认为，思想和洞见的光芒就在他叙述的表面。作者引用西格对于音乐学任务的一段表述，说明语境与语境化：“音乐学的任务是要使用参照系，使用比较的技巧以及其他表达方式，运用阐释，最后将其与音乐学的主体和普遍的思想整合起来。”（1977：55）
西格一直以来对于民族音乐学都有批判精神，将学科描述为比较音乐学的私生子（1977）， 因为他希望他投入大量精力去研究的系统音乐学可以拓宽范围和方向，考虑内在与外在的双重特点，从而将音乐与文化和社会的关系一起考虑，这是民族音乐学家在 系统音乐学的方法中尤其感兴趣的方式。将音乐学与民族学和人类学紧密联系的方式有局限性，因此，还有其他的学科可以同样成为音乐学的“语境”。
西格还对“在文化中”研究音乐以某种讽刺的方式做过回应：“没有一个学科可以将自己限制在语境中的一个事情之内，而排除了他自己本身的视野。”他建议，“音乐现象应该在音乐语境之内，或之外来看待”，这种观点就包括了一部分“系统音乐学的广泛研究”。现在，我们以自己的方式对这个问题进行重新阐释，就像Rice的重塑民族音乐学一样。
语境的方法
切入正题：每个学者都会考虑到语境问题，但有些人会表达他们对这一问题的不满，因为语境的研究无法对“音乐本身”给予足够重视。Jay Rahn（1983）认为这在民族音乐学中是一个中心问题，指出需要在“在语境，与在其本身中研究的平衡”，就像西格的整体论与胡德的根据音乐本身去研究，其语境是社会和文化。
以上批评并没有减弱历史音乐学和民族音乐学对语境的关注与关注。最近出现了一些新的对于音乐事件结构的兴趣，（Qureshi1987）西格在很多地方提到过，但并没有详细讲过。作者就根据他对于非洲音乐的研究来加以说明：他很早就通过语言学的研究注意到了语境和语境化分析的价值，马林诺夫斯基将语境看做是一个民族志工具，是“意义的意义”的辅助成分，作者也同样这么认为，因此也应用这个原则作为民族音乐学的技巧，在他的文章“非洲音乐意义问题”进行了讨论。
语 境方法的最终目标是更好的获得音乐的意义，超越了分析的层面。源于语境角度的民族志的描写、分析、与音乐事件的阐释可以导向更加丰富以及更有动力性的观 点，而其他方法则没有将语境与分析整合在一起，因此对作者来说很有吸引力，他自己本人的社会中，人们就是更多的考虑音乐的意义和解释，而不仅仅是描述。
另外的原因，是由于作者所研究的社会中，其音乐的文本text存在于表演者的记忆中，只能通过表演的语境来探索。对于无文字的音乐文化来说，语境的方法是很重要的。使用语境的方法，我可以在音乐的外在形式之上来看语境的相关因素，这些因素塑造并引导了音乐的过程。
语境的方法在历时研究中的重要性：某种语境的历史与语境的信息对于理解音乐传统或音乐生活的范围和质量来说至关重要。
语境方法的范围
语境的定义：简单来说，在任何一个环境中（物质的、生态的、社会的、文化的、或知识的），观察一个实体或进行体验的单位，是为了定义她们的身份与特征，以及与其他实体进行比较，这些构成了一个语境。
语境化：根据实体内在和外在的关系，在语境中观察这些实体的过程，带有分析与评价的双重含义。
语境可能是情景化的situational（空 间的或暂时的），因此是可被观察的，它也可以是一个概念或观念的参考系。它可以存在于观察者自身的经验当中，作为一个传统的携带者或记录者，因此对该体验 的分析是一种语境化的技巧。或者，语境可能不存在于观察者的即时体验当中，这就促使观察者去使用技巧去填补时间、历史、或空间、文化上的距离。历史研究和 语境化的技巧、或者说参与观察的方法促使观察者将客观与体验结合起来。
语境的参照系是多种多样的：历史语境、民族志语境、音乐的语境、和声的语境、文学的语境、社会、文化语境、仪式语境、宗教语境、生态语境、体验的语境、意识形态的语境、等等。每一个学科都有它所偏爱的语境参考系。
接下来，作者回应了前面说过的人类学和民族学语境所带来的限制：语境不只有社会，和文化的两种。音乐可以在很多的参考系中被观察。在民族音乐学中，若是没有限定词，那么语境一定会被看做是文化的和社会的，并说明造成这样状况的原因。（p81）这会隔离掉一些重要的因素。
民族志的语境
民 族音乐学者大多认为，发生的情景语境和场景，或被观察到的语境，构成了民族志的语境。作者随后做了定义：民族志语境是一个为了观察和记录音乐事件的语境， 考虑的是情景的本质与意义、环境设置、事件中可视与可听的成分、参与者、与互动的场景。要想定义学者的田野观察范围是很困难的，因为他的任务是记录音乐而 不是文化整体，是聚焦于音乐事件而不是一个社群内的全部事件。他不得不有所选择，而不是全盘记录，音乐事件可能在各种各样的地方发生，有着各种各样的表演 场景，研究者需要做出选择。重点是，如果我们可以打破傲慢与偏见，我们对于音乐研究中的民族志的概念被拓展到可以涵盖任何一个地方的任何一种“作乐”的语境。
音 乐类型的多样性使我们注意到制作和使用音乐的人、以及表演语境的多样性，文化内部的分类之间有着很大的不同，如传统、流行、艺术音乐。每一类型都有自己的 表演传统和民族志的特点以及运行机制。语境的论题将这些类型中的每种因素单独研究，同时也与音乐文化的整体联系起来，这样在处于一个整体的表演的地点和功 能才能被充分的研究。
每一种不同的类型都有着表面上的差异，无论这些差异是否有着语境上的关联或功能。语境可以是风格类型重叠、并置或变化，而来自政治、社会或地理环境等等的语境问题将在进一步的研究和语境分析中被考虑。
一些音乐传统中，其风格上的差异不仅因为类型的不同，还受到表演细节的影响。
音乐表演本身常常不是独立的，隶属于某种庆典、集会、宗教祭祀或仪式。在语境研究中，要区分出音乐事件、音乐的事件，和非音乐事件之间的区别。作者随后举了自己非洲音乐研究的例子，说明每一种事件都要研究，才可以注意到其中的区别。
作 者对没有聚焦的民族志提出了批评：一个研究异文化的学者会尽力去了解该文化，而不仅仅关注音乐事件。他除了观察，还会从音乐的表演和使用者身上学习音乐、 传统、以及在社会关系语境中的表演地点，深入的观察和了解这些人的生活方式，发展对该文化的感情，在此过程中他会获得比预期更多的资料，曾经有选择的民族 志变成了整体民族志。民族音乐学的民族志与人类学的民族志发生了混淆，直到他们重新聚焦于音乐，并清晰定义出什么是与音乐相关的论题。
语境化的技巧
描述，在语境研究中是很有价值的，可以传递出音乐事件的意义和重要性。但是语境化则还要依靠分析和评价的过程，并搞清楚人们对音乐的概念，这不仅仅是要去研究音乐的声音与音乐的行为，还要考虑人们是如何制造音乐的。应用于对特定社会的方法决定了分析的性质和范围。
一般来说，口传和书写传统音乐的语境化为了在即时的情景语境、与其他参照系之下建立起音乐事件的各种因素之间的关系而将它们独立出来，这是由结合在一起的场合与材料material暗示出来的。研究者从一个语境进入到另一个语境，进行相关的理论抽离与观察。在处理材料时，研究者在不同分析层面进行理论抽象与概括generalization，以确保形式的和语境的数据形成套系sets，因为他们共享着普遍的特征，或有着类似的相互关系，在进入到下一个数据套系以前是被放置到一起的。所以，音乐文化的声音资料或音乐事件的特定声音材料处于独立的层面，首先确定他们的变化与特征，其次在音乐文本、和其外在关系之中，以他们的功能为参照来进行语境化处理。
研究者通过程序来识别不同的结构单位与语法，也去探索语境的关系和这些单位在不同情景的环境中可能具有的功能、意义和内涵。因此，声音与结构可以产生如下一致性：
1）考虑到情景方面的音乐的声音与节奏模式的特殊密码
2）音调的模式与节奏作为表达中介（speech surrogates）被聆听
3）音乐的节奏与舞蹈节奏或者其他运动模式相结合
4）音乐声音与个人或团体活动的声音相整合，如丧葬活动中人们的吊唁与哭丧歌（wailing tones）
音乐事件作为一个整体，可以从表演过程的角度来研究，由表演者执行过程并揣测过程与角色之间的关系，并研究这些如何影响了音乐中外在结构的秩序。【举qureshi的例子】
除了音乐文本要素的语境化，表达的文本（verbal text歌曲与乐器的听觉因素）也同样需要语境化；除此之外还要考虑音乐事件的视觉因素，即艺术形式、艺术客体、整体表演中的身体语言的形式，他们与听觉上的因素、情景和其他参照系形成互惠 关系。这些可以带来进一步的，不同重点的阐释。
但是，这并不适合与所有的音乐传统，因为有些传统中，曲目如何表演是被给定的，无关乎场合。但是仍要考虑到人的因素以及表演所安排的场合。作者举例说明：如交响乐团在公园里的演奏，演员与观众的关系和行为反应，这与其他的场合发生的状况或许会有不同。除了音乐事件的成分分析（这建立起音乐要素与场合的语境要素之间的关系），关联性nexus的性质产生了这样的联系，或者建立联系与功能的的其他方式，我们可将nexus作为语境化的过程来进行考察。【即考察nexus=contextualization】
关联性分析
界定：关联性关系（nexus relationships）是指音乐与任何与音乐直接、或间接相关的东西之间的关系。因此，我们可以从以下几对关系中检验这种关联性：音乐和制度化的行为之间；音乐和制度化的功能之间；音乐和不同领域的人类活动之间，如宗教崇拜，政治与经济行为，等。
表层来看，关联性是次要的部分----作为“background”，或创造与维持一种气氛atmosphere，来使活动activity或互动得以持续。如在宗教仪式中，将关联性作为背景，则它可以提高专注力，或使得人们达到超越生理层面的自我觉醒。其他作用还有：迷狂或者狂欢的群体体验时个人和集体的行为控制。
第二个层次：影响音乐或可在情景中进行口头与听觉上交流的东西的表现，主要指的是某些文化中观众与表演者之间一些非音乐的活动。
因素的分析
除了这些直入主题的研究，语境化还可以扩充，超越内部关系而扩展到操作音乐的外部因素factors。西格认为，这些因素是“对音乐过程的外在施压”，并与社会过程相关联。包括：因果因素、determinants of order，grouping， and sequence, or of usage, and may be physical, social, political, economic, cultural, or historical.我们一方面要区分音乐与社会、政治或经济行为的关联性，另一方面，施加在音乐和制造音乐上的pressures??政治、社会或经济力量会导致音乐控制的不同形式，或将音乐看做社会与政治控制或抗争的中介。
同样的，人们也可以区分出特定的文化行为和音乐行为、音乐中的文化因素之间的关联性。这种文化因素决定了既定的来源（整体文化上的精神物质来源）和制作音乐的方式??观念、信仰、价值观等等。这些可以作用于表演的语境或过程的进行，一些控制传统与革新或进程的力量，如族裔、血缘关系filiation、age、gender、specialization、identity、prestige、autonomy、dependency、power、authority。这些都可以成为分析和语境阐释的因素与来源。
尽 管这些都是我们民族音乐学家关注的问题，但是我们常常也要看看反面，因为影响是相互的，尤其是数据中相关的同源的学科领域。举例说明，不仅社会作用于音 乐，音乐也反作用于社会、个人行为、身份意识等。【社会学】研究音乐历史的人对相关问题的讨论，他会去分析历史与历史叙事的角色和功能，运用从成体系的赞 歌唱诵与背诵的语境化分析中得到的证据。【历史学】总而言之，任何使用音乐的人类活动领域，都可以运用情景化和概念的参照系。
语境化也由此可以被带入一个深层的解释层面。作者借用Radcliffe-Brown的观点，说明民族音乐学的“关于音乐和宗教仪式关系的研究会出现有趣的结果”，其价值不在于民族志似的描写，而在于对描写的阐释与评估。
来自同源学科的观点:人类学、社会学
既然语境化不限于情景理论，他可以让人类音乐学家用起源于同源领域的概念的理论作为他们的补充数据或是阐释的基础。当人类音乐学家在对同源学科做专业性判断时， 语境化有助于他们在做学科方面特殊的课题或是去从一个音乐人类学的角度去提炼其理论。事实上， 一些有人类学倾向的人类音乐学家已经开始这样做了。这个发展在Marcus and Fischer的作品Anthropology Cultural Critique (1986:63-65)所称颂。正如Seeger提议的， 把人类音乐学的发现集合到音乐的主题和主题思想中应该根据“reportorial”， 分析和评估我们的作品(Seeger 1977:5)。
如今，人类学范例和理论不光在我们表达我们自己we address ourselves的问题上，而且在决定我们分析和翻译语境的数据方面发挥了重大的影响。 许多已经变成了人类音乐学家的惯用手段。 社会变革和文化变革变成了音乐变革和musical acculturation or acculturation in music， 并且产生了如acculturated music 和foster music 的新词。
音乐创作的内容和社会学家对社会和音乐的观察有很多重叠， 这些类似的问题看起来是自然的， 有时也是无法避免的。当我们对其他学科例如文学， 心理学， 生物以及声学进行研究时同样也会发生类似的事。那些很难被我们接受的数据和阐释音乐问题的理论， 这些incursions 使我们得以扩展我们探询的焦点以及我们分析和诠释问题的方法。
学科交叉：在这个方面， 民族音乐学家不是孤独的， 所有的学科相互间都引用了敏感的概念draw sensitizing concepts。 正如Hirschfeld所指的(1988:621)，一些人类学家从事“在理论上和方法逻辑上借鉴了来此社会和认知心理学，语言心理学和文学的研究”正如许多语言学家， 历史学家和心理学家的工作受到了“人类学传统的影响”。
如何运用以及正确看待：在这些交叉学科研究方面重要的是我们把这些知识和我们获得的见解如何快速的return to our base，或是拓展我们在音乐方面研究的具体问题， 或是在提炼理论时扮演一个重要的角色。既然不是我们所有的人都受过人类音乐学和相关学科的培训，当我们偶尔触及其他学科时，站在人类音乐学的轨道上对我们很多人来说这就是规则而无一例外。我相信这就是当Seeger描述他自己“不是哲学家，而是一个尝试运用语言的艺术去处理音乐艺术，从而尽量避免他的先辈们诸多错误的音乐家” (1977.38)的意义。 尽管他例举了Aristotle, Kant, Hegel等等，他写道：“我不是装作一个哲学家， 我承认我已经冒犯了哲学领域， 但是我研究它更多的是从外部而不是其内部， 而传统的哲学家角色却恰恰相反。”但是作为a guide to musicological living and letting live， 他准确的表达了我现在的观点。音乐作为我生命的主要学科已经很久了， 对我来说音乐学的主要功能是翻译这门学科to fellow carriers 我的和其他的文化以适应我的音乐和其他的音乐。最终， 它将经验性的和整体性的被看做一个完整的整体。
在我看来， Seeger的地位对那些学习使用语言学， 人类学的和其他方式将音乐作为一个知识领域进行广泛探索和分析的人们来说是相当有效的。
音乐的民族音乐学理论
如果说语境化是一个过程， 他帮助学者阐明了音乐的方法，音乐的制作、关系和意义， 那么应当有一个形式上的和语境数据系统的最终分析，以及民族音乐学的音乐理论的形成。在这个联系中，音乐事件中的数据和技术化的信息起源于对这些事件的分析，这是基础的层面 ，还需要进一步的理论提炼。在更进一步的层次上，民族音乐学家的工作与记者的描述或是其他尝试具体描述发生在社会生活中的音乐事件的人是不同的。在人类学著作中对这些事件发生的描述是重要的数据资源， 但是他们没有变成人类音乐学的术语直到他们被系统化。
意 义由听众建立起来，但并不是只存在我们所听到的东西上。特殊意义的交流或感觉的强度是有意为之的，被不同的符号或密码传递着。一个鼓手用击鼓来传递信息， 并期待被理解与阐释，以及得到恰当的行为上的回应。因此，关注到这些符号或密码形式的意识构建可以引导意义的构建，就可以对其进行掌握与解码。【掌握其intention意识，就可以对符号和密码进行阐释】
这不是唯一可由形式和语境分析得出的、具有音乐阐释作用的操作理论，因为我们所要探究的问题不仅仅是要何时、怎样做决定，还要了解我们做的决定以及原因。音乐理论的概念不要被限制在文学领域literati class的形式化理论，无论在西方还是哪里。建立关于概念、术语、和音乐产品的理论，应该是民族音乐学家的目标之一。
考虑到音乐及其语境，西格关于整合形式的观点和语境的数据，我们便可以建立至少三个理论提炼的互补的“音乐的民族音乐学理论”：形式的、社会的、语义的。
之后作者做了分别论述：
音乐的形式理论是我们都很熟悉的关于声音、结构系统、文本和复杂性density、作曲过程和程序，和表演实践的因素。还可以拓展到对源自于声音来源领域的研究（乐器？）以及音乐现象的实验和体验研究。这些对理解音乐交流作为创造和美学体验很有意义。
音乐的社会理论是去对付音乐的角色和功能，以及在社会关系的语境中的音乐制造。这些要以音乐中富于变化的形式与结构为参照，这些变化往往来自音乐的制造者，使用者，以及控制表演和展现的选择的社会认知。这对理解音乐作为社会体验很有意义。
语 义的理论是处理那些形式和社会的语义暗示，这与音乐中情感与意义，或敏感性的沟通与表达、象征或指涉的与组织起来的意义、信息编码和解码的过程相关。这对 理解音乐作为文化体验很有意义。【这段比较重要，因为他很清晰的区分出音乐的社会分析和文化分析之间的区别，社会是结构与功能的研究，文化分析是与音乐的 象征与意义相关。】
但是，以上三点也不能被过分强调，因为我们民族音乐学的任务不仅仅是要发展为了民族音乐学的理论，还为了音乐的民族音乐学的理论，这种理论拓展了现有的音乐理论music theory的狭隘概念。
作 者相信，一些特殊的理论，以及比较理论和一般理论还是有空间的，因为民族音乐学的研究并不局限于单一的文化或族群。比较的音乐理论应该得到更多关注。发展 调查和系统化的策略，可以促进流行音乐的民族音乐学理论，对艺术音乐传统的比较理论也不仅仅是一个老生常谈的文学理论。稍后的研究应该包括当代艺术音乐的 形式上的文化间intercultural理论,民族音乐学家在这点上很有优势，因为他们对音乐文化的知识，可以从中找到材料与技巧。
所有这些理论都是基于经验性的数据，而不是只去思考能得到的。西格所说的“将文字理论回归音乐实践”非常重要。首先的原因，就像西格所说，“学术工作的原则性目标，就是使研究结果和所研究的东西相契合”；第二个原因是，如果我们“将文字理论回归音乐实践”的话，“我们不仅会从实践中获益，也可以保证理论保持正轨。”正是如此，作者才要提出分析和系统化的语境技巧，这可以使学者保持他应该关注的焦点，并持续的将学科问题记在脑子里，不论选择什么样的理论参照系，我们的阐释和分析都应该对理解音乐及其语境有促进作用。【意即理论都要为音乐及其语境服务】
结论
主要讲了很多语境研究的总要性，但也承认，没有任何一个单独的策略或参照系可以回答我们所有关于音乐的问题，
作者说，自己所认识的学科，是一个在音乐的学术研究中，将形式与语境的技巧结合在一起的学科。其应用的领域包括西方艺术音乐。它所提供的空间除了那些语境主义者以外，还包括形式主义者、音乐的历史学家，甚至还包括西格所说的那些“将音乐的价值看做研究中附属的，或可仿效的非音乐”的学者。
作为民族音乐学的普遍目标之一，对于音乐语境的理解途径是无限的。因为我们的观点在我们如何去进行，以及进行的结果上（或我们的阐释）有着关键性的不同。
作者最后引用西格的话，来说明将有限的观点集合起来，可以获得无限的观点，这正是作者所希望的。
课堂讨论：
潘妍娜：我们其实也一直在讲语境，讲文化中的音乐，文化就是一个语境，这和作者讲的有什么不一样？文化本身是一个很大的概念，文中讲了很多参照系，在没有区分广义的文化和狭义的文化的情况之下，其实跟我们以前讲的文化语境是不是差不多？
徐 欣：如果按照广义的文化概念来理解的话，作者所说的大部分语境都可以被包括其中。但是要看作者对文化的定义，其实是一种狭义的文化概念，在文化语境之外我 们还有其他语境，比如社会的、经济的、宗教的、政治的，等等。刚才我谈到文中有一点很重要的观点，就是作者区分出文化研究和社会研究，认为文化主要是你和 我之间意义的传递，利用音乐来进行的沟通，比如说特定文化当中对意义密码的规定；而你我之间的社会关系，结构，组织形式，属于社会语境的研究。
邹婧：作者提供的主要是一个方法。
徐欣：作者主要讲两个方面，一是对语境的界定，二是语境化的方法，拓展了我们对语境的认识。
齐江：作者将语境体系化了。文化太宽泛了，什么都可以看作context。我注意到他提到了文学的语境，对这点我体会很深，在我研究当中，感觉到板腔体和曲牌体划分的根源，就是依照“文学的语境”， 因为有人认为它们只是节奏节拍的变化，所以就把板腔体定义为以一个曲调为基础进行节奏节拍的变化；其实曲牌体本身照样可以变化，它们的根源在于整齐的句 式，适合长篇叙事，早期用在说唱，后来戏曲也用，形成了戏曲的花部；而雅部就是词牌，也是文学上的词的类型。我抓住了文学的线索，但是没有像作者一样理解 成为一种语境。回应潘妍娜的问题，我觉得作者的分类还是有启发，有纵深的。
曹老师：很好，研究中国的传统音乐应该关注这一方面，你说的很对，这同文字有着非常密切的关系。
吴艳：作者分类的目的，也许是想说明我们民族音乐学的民族志和人类学的民族志之间的细分别，在细分之后，我们可以找寻与音乐有关的语境。在具体语境方法范围的方面，他的语境指描述，语境化指分析和评价，这和深描浅描很相似。
曹老师：某些程度类似，但角度不一样。深描浅描都是学者的描述，但语境是客观的事实。
邹婧：潘妍娜的问题，还是学科定位的问题，作者贯穿在文章当中的观点，是强调音乐的音乐学。我们去做田野，呈现出的有关“文化”的东西太多，但很多不是我们学科研究的重点。当你有一个音乐学的定位时，面对复杂的语境，就会有所选择。对我还有启发的地方，就是分析要分层。很多东西要去区分，其实做研究首先就是分析，剥离、分类、逻辑化的梳理。
栗珲：作者说语境化是分析和评价的过程，那么这个过程究竟是什么？怎么分析和评价？要达到什么目的？
徐欣：语境化就是把语境系统化。其次，是以哪一种语境作为自己研究的参照系来解释音乐，这就是分析；评价，即evaluate， 对过程和结果进行评估。
齐江：英文contextualization这个词很好理解，翻译成语境化就不明白了，其实就是语境和音乐。
徐欣：语境化也很好理解，“化”这个词本身就代表过程，比如异化、涵化、系统化。
曹老师：我们可以从另一个角度来理解“语境”和“语境化”。让我问你们，“系统”与“系统化”有什么区别？如果我们说一个东西的系统，指的是系统作为“成品”的存在；去将其“系统化”，是要去明白系统里面包含的内容。语境和语境化也可以如此分别。
这篇文章很重要，对于大家如何去做研究，无论在哪个领域都很有帮助。显然，作者是基于实践认知来看学科理论的。刚才大家讨论过语境同文化的关系问题；它们之间有着密切、但层次不同的联系。作者不用“文化”而用“语境”，是想指明他的“语境”是同音乐有关的文化因素；如果将语境等同于文化，那么文化中的任意因素都成了语境，就变成是无边无际的探究，这是Merriam之类思维上的毛病。实际上，所谓“context”,是与text相关的，才成为context。至于“语境化”，是对各种“contexts”分析、提炼、解译的认知过程。如此来看，“语境”和“语境化”又是一个两极变量的连续线，不是两个分开的东西。这篇文章有实用性，并不是空泛的理论。同学们可以抓住其中谈到的某些问题，去结合自己的经验来思考。恩科迪亚本身讲话很严谨，用词高贵，表述清晰。
陆小路：文章中的music event和musical event有什么区别？
齐江：音乐事件就是音乐的声音本身，音乐的事件是音乐过程中的事件。
曹老师对本文的点评：
【首先，我觉得徐欣对文章标题的翻译不是很合适，我认为本文的标题应该翻成“（音乐）语境的探究和系统化策略”较为合适】
【本文是作者在北美SEM年会上以“Seeger Memorial Lecture”为名的主题发言。美国的民族音乐学学者，无论取向倾向人类学或是音乐学的，都对Seeger这位美国民族音乐学的建创者之一、但以音乐学为学科定位的前辈有很高的评价，故在年会上设了这个“Seeger Memorial Lecture”。年会邀请Nketia为主题发言者当是因为Nketia的学术地位和影响，而且他曾于与Seeger在UCLA同事，对Seeger有深入的了解。本文出版时，Nketia已从美国退休回到加纳工作。Nketia是一个本土学者在国际学界取得话语权的典范。这是由于他不但对自己的文化有深入的研究经验，同时对西方学界也有彻底的认识----这是“知己知彼”者也。】
Structure of the Article
Introduction
l Topic of the article：a critique of context and contextualization
l Reasons for the choice of this topic
l Status quo: multi-approaches towards context and contexturlizaion
l Outline of the structure of the paper
Seegerian Preface to Context
l Seeger’s musicological view of the discipline: music should be “viewed in or out of music contexts” , as “the comprehensive study of systematic musicology”
The Contextual Approach
l Ultimate goal of the contextual approach is to facilitate the exploration of meaning in music beyond descriptive analysis; it is a means to an end rather than an end in itself
l Case example towards contextual approach as an means to an end (better understanding of the “music”)
Scope and the Contextual Approach
l “Context” and “Contextualization” defined
l Scope of contextual studies
The Ethnographic Context
Techniques of Contextualization
l Identification and analysis of elements of a musical event: Sounds and structure, performance procedures, verbal text, visual components
Nexus Analysis
l Music at a passive relationship to an event (music as the “background” of an event) and music at a active relationship to an event (music determines an event)
Factorial Analysis
l Reciprocal relations between music and “extrinsic” factors
Perspectives from Cognate Disciplines
l Other than anthropology, there are cognate disciplines that might be useful to the studies of music in ethnomusicology
l No matter how far one strays, one must find a way to return
Ethnomusicological Theory of Music
l Ethnomusicological theories of music: 3 complementary levels
n formal
n social
n semantic.
l Moving from theory of a music to theory of Musics
Conclusion
以下是曹老师希望同学注意的段落：
Introduction
p. 75
When the President of the Society invited me to give the Seeger Memorial Lecture, she suggested I speak about some methodological issue of particular interest to me. Since the theme of this year’s meeting is Assessing Ethnomusicology Today, I have chosen, on this occasion, to present a critique of context and contextualization, 【“上下文”和“‘上下文’化”】 using the holism of Seeger as a springboard, while citing here and there some of his corroborative statements and general guidelines.
Another reason for this choice is that although context is a shared concept in academia and elsewhere, …it is not approached in the same way by all scholars, even though it is “critical for all fieldworkers in the human sciences.” …in ethnomusicology, …some scholars see context only as a descriptive tool,【有的学者视“上下文”只不过是一个描述的工具】 others equate it with society and culture or the so-called “total matrix,” 【有的却把“上下文”夸大成整个文化----“作为文化”】 even though there is no reason why music may not be viewed in any context or frame of reference suggested by the data at hand or the investigator’s research paradigm. 【“音乐”的“上下文”可以因音乐数据本身或研究者的研究设置的不同而不同。】 Similarly some scholars see contextualization largely in terms of background narratives, while others approach it as a methodology for searching for relationships in culture, usually in structural-functionalist terms, while still others view it as a technique of semantics.
l Outline of the structure of the paper
pp. 75 - 76
…I begin my discussion, after a preliminary look at Seegerian aphorisms, with a working definition of context as…a strategy and an analytical concept. I follow this with a brief discussion of the ethnographic context, but dwell at some length on techniques of contextualization, including techniques of componential, nexus and factorial analysis, and the use of perspectives from cognate disciplines. I conclude with the proposition that the systematization of data from contextual analysis should not only contribute to music as a field of knowledge, but also lead to the formulation of ethnomusicological theories of music.
Seegerian Preface to Context
p. 76
…Charles Seeger in whose memory it is our privilege to re-enact the intellectual tradition that he himself vigorously pursued…Indeed now and then his closest friends remind scholars who have not done their homework that Charles Seeger had said it before, 【Seeger的“战友”提醒现代学者，他们不如Seeger那样用功】 just as in the late 1950s and early 60s the disciples of Hornbostel such as George Herzog and Klaus Wachsmann sometimes mildly rebuked up-and-coming ethnomusicologists for their lack of awareness that Hornbostel had “said it all before,” 【真如Hornbostel的学生（战后移居美国、在美国教学的）提醒美国的后起民族音乐学学者，他们不要自以为在“创新”，实际上这些“创新”Hornbostel“都已说过”】 ….
Although the recognition of observations made by our predecessors is indeed our bounden duty, 【尊重前辈的贡献是我们的责任。北美的快餐文化追求的是“新”，新的就是好的，旧的就是过时了的。List在他的文章中也批评了这种幼稚思维。近年来中国学界也见此现象，值得警惕。】 this should not muzzle the scholar working on different materials who comes to similar conclusions. I certainly believe in the adage that what is worth saying is worth repeating…. 【“旧”的东西，如果是“好”的，无妨继续用它？】
pp. 76 - 77
The irony about this intellectual 【指的是Seeger】 who spoke time and again about speech, language, modes of discourse, communication, and music is that while he is generally not so difficult to follow…. 【是的，Seeger对“如何说（“speech-mode”）音乐”的书写对学界有很大的影响。】 In one of his dialogues he admits that what emerges in this context is “difficult writing” (1977:102) 【确实，Seeger虽然对如何“说”音乐十分关注，但略有讽刺性的是，他自己的英文书写却是十分糟糕的。】not only because of the subtlety of the ideas he deals with, but perhaps also because of the language in which those ideas had to be couched. One must be prepared to grapple with words of his own coinage, with his penchant for nominalizing, and with his habit of thinking in dualities, a habit that leads to the frequent juxtaposition of terms in complementary or dialectic relationships.
... I find myself returning to his philosophical and theoretical writing, not so much for his diagrams and flow charts, which display the thought processes of a systematic musicologist, 【题外话：Seeger对学科的定位是以音乐学为核心的。】 as for his aphorisms - the flashes of insight and wisdom which surface in his discourse... Thus while many people remember him for his preoccupation with the musicological juncture, I remember him for the many statements that pervade his writings on what he describes as the musicological task. Context and contextualization fall within the terms of the musicological task, for as he notes:
The musicological task cannot be considered much more than begun until by the use of frames of reference, of techniques of comparison, and of other devices of speech presentation, the purely reportorial phase is followed by that of interpretation, and finally by that of integration with the main body of musicological and general thought. (1977: 5)
pp. 77 - 78
… Although he was one of the four founders of the Society for Ethnomusicology (Nettl 1988:22), his reactions to early trends in ethnomusicology, or as he puts it “so-called ethnomusicology” 【注意，这里Seeger用“所谓（so-called）的民族音乐学”，似乎当时他并不完全认为这是一个很合适的学科取名。】 was unabashedly critical. Even though in the last three decades of his life he seemed to have circulated more in ethnomusicological circles and meetings than elsewhere, he did not hesitate to describe the field as “the bastard offspring” 【确实，如果民族音乐学失去了它的学科音乐学的定位，它就是一个“杂种”！】 of comparative musicology (1977:15), for it was his hope that systematic musicology, to which he was deeply committed (Kerman 1985: 157), could be expanded in scope and orientation in such a way that it would take care of both the “intrinsic 【音乐体系本身】 and extrinsic 【音乐以外的其他上下文】,” and so include in its scope the relationship of music to culture and society that ethnomusicologists seem particularly interested in exploring in a systematic manner. …the alliance with ethnology or anthropology…This union which seemed somewhat logical to others was too limiting, since there are other disciplines that are similarly “contextual” to musicology. 【这也是我曾说过的，为什么民族音乐学自认的“干爹”必须是人类学，而不是同样对我们“文化中音乐”有密切关系的社会学、语言学、心理学、哲学…？！如果我们看回Adler对音乐学的设置，他的体制要广阔的多。当然，当时美国创建“新”学科的心理是建立自我，接收已有的欧洲传统不在他们的民族主义议题之内。】
Elsewhere Seeger reacts in a somewhat sarcastic manner to the idea of studying music “in culture,” because in his view “no relatively independent academic discipline can be expected to confine itself to the view of a thing in a context to the exclusion of a view of the thing in itself ” 【注意Seeger的用词：“independent”（独立）、“thing in a context”（上下文） 、“thing in itself”（音乐本身）。换句话说，Seeger的意思可以给读为：“如果民族音乐学只知道上下文的音乐而排斥音乐的本身的话，它就不是一个“XX音乐学”的学科” (1977:16). The goal of musicology must be “the study of the total music of man both in itself and in its relationship to what is not itself” (1977:108). Thus what he was concerned with was a particular kind of holism. He was not against context per se…he suggests that music phenomena may be “viewed in or out of music contexts” and that this operation constitutes part of the “the comprehensive study of systematic musicology” (1977:13). This and other Seegerian observations, I believe, present views that many of us do not dispute even though we interpret them in our own individual ways, as Timothy Rices review of current models in ethnomusicology and his own suggestions for remodeling ethnomusicology testify (Rice 1987).
The Contextual Approach
It is against this background of Seegerian holism and his idea of “viewing music and musical phenomena in or out of musical contexts” that I would like to discuss contextual strategies of inquiry and systematization, a subject that may seem somewhat pedestrian to some of us, for as Nett1 points out (1983:19), there is hardly any ethnomusicologist who does not refer to it, although some are more committed “contextualists” than others. Nor is context new in historical musicology, 【文化上下文对历史音乐学来说并不陌生，也是他们的关注。】for as Kerman similarly observes, “It is hard to think of any serious musicologist for whom it is not at least a minor concern” (1985:171), a concern elaborated by Tomlinson in “The Web of Culture: A Context for Musicology” (Tomlinson 1984).
l Ultimate goal of the contextual approach is to facilitate the exploration of meaning in music beyond descriptive analysis; it is a means to an end rather than an end in itself
pp. 78 - 79
In spite of the general acceptance of context as a focus of study and analysis, some scholars now and then express their dissatisfaction with it because they feel that contextual studies do not give sufficient attention to “the music itself.” Jay Rahn (1983) sees this as the central problem in ethnomusicology, while Kerman states… “…they are usually tilted much too far towards the considerations of contexts. They usually deal too little with the music as music.” Hence he points to the ideal of achieving “a balance of richness between considerations of art in its context and in itself” (1985:180)…. 【所以同学们应该知道，西方民族音乐学对所谓“音乐作为文化”前提下的对为了上下文而上下文，轻视忽略音乐本体研究的学风也不乏不满之声的。】
p. 79
…the contextual approach…seems to have been undergoing some refinement in recent years with the renewal of interest in the structure of music events (e.g., Stone 1982; Qureshi 1987; Zile 1988). 【修读过“民族音乐学（一）的同学已读过Qureshi的这篇文章。】
…my interest in the topic is a very personal one, for it has been the basis of my own field observations and analytical studies ever since I embarked on intensive research into African music in 1952 at the University of Ghana… I was long aware of the heuristic value of context and contextual analysis through my studies in linguistics at the University of London in the 1940s with Professor John R. Firth, who had suitably adapted these concepts in his thinking about speech events and the problem of semantics (Firth 1957:7-33)...【另外，Nketia的背景除此之外，他还是一个作曲家。】
As I interpret it, the ultimate goal of the contextual approach is to facilitate the exploration of meaning in music beyond descriptive analysis …, would be a means to an end rather than an end in itself. 【“‘上下文’化”是探索音乐的工具（means)，而不是目的（end)；我们的目标是音乐。】 Thus it is based on the assumption that ethnographic description, analysis, and interpretation of music events approached from the perspective of context should lead to a richer and more dynamic view of a music....
l Case example towards contextual approach as an means to an end (better understanding of the “music”)
p. 80
Since a performance in many ways brings a renewal of shared knowledge and experience, the contextual approach enables one to observe how this experience unfolds both in the musical processes and in the interaction of those present….
I found the contextual approach valuable not only in synchronic studies where personal observations are possible but also in diachronic studies in which contextual history or contextual information is critical for understanding aspects of a musical tradition or the scope and quality of the musical life that nurtured it.…
Scope and the Contextual Approach
l “Context” and “Contextualization” defined
p. 81
… any setting or environment - be it physical, ecological, social, cultural, or intellectual - in which an entity or a unit of experience is viewed in order to define its identity or characteristics as well as its relations in comparison with other entities or units of experience constitutes a context. The identification of entities in a context involves techniques of observation, while contextualization - the process of viewing such entities in a context in terms of their internal and external relations and relevance - is both analytical and evaluative. Context may thus be situational (spatial or temporal) and thus observable….
l Scope of contextual studies
…contextual frames of reference are open-ended. Scholars refer to historical contexts, ethnographic contexts, musical contexts, harmonic contexts, literary contexts, social contexts, cultural contexts, ritual contexts, religious contexts, institutional contexts, ecological contexts, memory contexts, causal contexts, formal contexts, contexts of experience, intellectual contexts, ideological contexts, and so on. Indeed every discipline seems to have its favorite contextual frames of reference.
p. 82
It must be noted also that in musical studies, contextual analysis is an extension of…formal analysis whose aim is to enhance understanding of music as a creative or aesthetic experience. 【在音乐的研究中，“‘上下文’化”是音乐分析的延伸】 As an extension it enables the scholar not only to relate the music as a whole to particular frames of reference but also to isolate significant elements that have contextual correlates or interpretations…. The scholar approaching the study of music from the contextual perspective must be aware of at least this basic knowledge…if his contextualization is to be also music specific and not limited to extrapolations from his perception of the behavioral components of contexts of situation. 【核心和延伸，这需要分清“主、客”。】
To facilitate this, the music itself and its realizations in performance are isolated as a “context” of observation, first in order to identify the modes of expression (including their internal constituents and structures) and modes of performance characteristic…, and second,…channels of communication and their manner of integration, since music making involves combinations of auditory and visual elements whose interrelationships need to be investigated. To view a music event solely from the perspective of the auditory component is to ignore all the effort that goes into its presentation, including the details of movement and visual forms (Zile 1988), details of routine and their sound correlates (Qureshi 1987) as well as the intentions behind its modes of expression and performance in the contexts in which music making takes place. It is because of the importance of the latter for understanding the totality of music events in many cultures of the world that ethnography has become an essential part of our discipline and a prerequisite in contextual studies of music.
The Ethnographic Context
pp. 83 - 84
The consensus among ethnomusicologists is that the occasion and the immediate context of situation or what is sometimes referred to as the context of observation constitutes an ethnographic context (Herndon and Brunyate 1976; McLeod and Herndon 1980), that is, a context for the observation and documentation of music events in respect of the nature and significance of the occasion, the setting of the specific context of situation, the auditory and visual components of the event, the participants, and the interaction occasioned by it. It is this complex that defines the scope of the scholar’s field observations, for his task is to document music rather than the whole of a culture, 【学生们要记住这一点；在做实地考察和记录时，要有层次的去收集资料，焦点/核心是音乐。】 to concentrate on music events rather than on the entire range of events in a community. Accordingly he is often compelled to begin by doing selective rather than full-scale ethnography….
Since different types of music may be performed in a given society or community, it is customary to take note of their variety and contextual distribution both in relation to the makers and users of music and contexts of performances. The broad distinctions between idiomatic categories …are noted since each category has its own body of traditions and concepts as well as ethnographic characteristics with particular reference to settings, patronage, institutional arrangements, performance, and modes of communication and presentation as well as expected forms of behavior of music makers and their audiences. The contextual issues related to each of these can, therefore, be studied separately and related as far as possible to the totality of the musical culture so that its place and function in the continuum can be adequately examined. 【这些都是对实地考察很有用的指示。】
p. 84
【这一段对同学应该有启发和共鸣】
…while music may be promoted as an independent event…there are occasions on which it is made a part of other events such as fairs, festivals, ceremonials, religious worship and ritual events, or celebrations of the life cycle. Hence the distinction between music events, musical events, and nonmusic events is an important one in contextual studies, 【分清音乐事件，音乐的事件和非音乐事件。】 …. While music events are simply occurrences of music or even occurrences of music sounds【比如说，一首民歌的演唱】 in a music text or occurrences in larger contexts of situation, a musical event may be any event that incorporates music. 【比如说，这首民歌演唱及其有关的语境】It may be an artistic production or event such as drama or dance or a particular form of cultural expression such as liturgy, ritual, a celebration, or a festival…While the ethnomusicologist is concerned primarily with music and musical events, the axiom that one knows a thing by what it is as well as by what it is not may now and then extend his field of focus to include nonmusic events. 【当然，“非音乐事件”不是我们的研究范围，所以作者要我们辨出什么是不与音乐有关的。Music event，musical event, non-musical event又显示了层次概念，也就是作者所谓的“系统化systemazation”。这也是我一直强调的层次概念思维，我们在对学科的认知、理论方法、田野作业等等研究活动中必须具有这种思维，那我们就不会迷茫、迷失。】
On the same basis the scholar who is not a carrier of a tradition he is studying or who finds himself in a totally new environment may do more than just observe music events. He may try to absorb as much of the values of the culture... To this end he may rely not only on what he can observe but also on what he is able to learn from music makers and music users about the music and its traditions as well as their place in the context of social relations. He may develop interest in observing and understanding the general life style of the people so that he may develop empathy【置身于其境】 for the culture and so enhance the depth of his own understanding and appreciation of what Gerald Abraham has described as the “aesthetic ethos” of a music culture (Abraham 1974:21). In this process the scholar may accumulate more information about a society and culture than he needs for the particular topic he is investigating. What starts out as selective ethnography may end up as full scale ethnography. As all seasoned field workers know, the ethnographic boundaries of ethnomusicology and anthropology may become somewhat blurred until the scholar re-focuses on music and what is relevant to its formal and contextual analysis and clearly defined music-related issues. 【特别要提一下的是，不少学生把做实地考察时所有记录的东西不分彼此的放进文章里，此时，应该记得Nketia的这一句话！】
Techniques of Contextulization
p. 85
Descriptions of the ethnographic contexts of music… are valuable in contextual studies, since they enable one to convey part of the meaning and significance of a music event through a vivid portrayal of the circumstances under which it takes place, and the identity of those who participate in it, or even their intentional behavior. Contextualization, however, demands more than just describing the social contexts of music, for it is also an analytical and evaluative process and should clarify how a people conceptualize their music not only in terms of ideas concerning “music sound” and “music behavior” (Merriam 1964:14) but also in respect of their approach to music and music making since patterns of sound and behavior characteristic of a music culture tend to recur. Thus the approach used by particular societies will determine the nature and scope of the analysis that may be attempted.
pp. 85 - 86
…the correspondences that may be established in respect of sounds and structure could include:
a) special codes of sounds and rhythm patterns in the music which refer to aspects of the situation;
b) patterns of tone and rhythm intended to be heard as speech surrogates;
c) musical rhythms aligned with dance rhythms or other patterns of movement;
d) integrations of the sounds of music with the sounds of individual or group activity….
p. 86
The music event as a whole may similarly be viewed from the perspective of the performance procedures… and the relationship between these procedures and the roles that are assumed by the performers and how these affect the ordering of formal structures in the music.
In addition to contextualization of the constituents of the music text, the verbal text (that is, the verbal component of the auditory sound events present in songs or implied in instrumental pieces when speech surrogates are used) may similarly be contextualized….
【以上所提与我通过对仪式的研究所悟到的“音声”概念有相通之处。】
Contextualization may be extended to the visual components of a music event, that is art forms, art objects, and kinesic forms that are an integral part of the total performance in order that their reciprocal relations with the auditory components as well as situational and other frames of reference may be identified….
It will be evident from the foregoing that the kind of componential analysis discussed thus far can only be applied wholly or in part to music in which there is evidence of a referential system in the creative or music making process which is situational, for the extent to which correlations can be established between music and situational elements varies from culture to culture, and sometimes from one musical idiom to another. 【音乐的社会化属性各有所不同，故上述的结构组成的分析会有不同程度的侧重点。】Hence such correlations may not be appropriate for any tradition in which previously composed music is rigidly reproduced as given, irrespective of the occasion.
Nexus Analysis
p. 87
By nexus relationships I mean the relationships that are maintained between music and anything that is integrally or epiphenomenally linked to it. Thus one can examine the nexus between music and institutionalized behavior, between music and institutional functions, or between music and different domains of human activity, such as religious worship, political and economic activities, and so on. On the superficial level the nexus could be one of subordination, with music serving as “background” or a means of creating and maintaining an atmosphere for sustaining an activity or stimulating purposeful interaction.
The nexus could also be one in which the affective presence of the music or what it communicates aurally or verbally dominates the situation. Here the nonmusical activities may be minimal or unobtrusive, except that interaction of some sort would still be expected among the performers, or in some cultures, between performers and audiences….
The nexus between music and other events may also be defined by the presence or absence of correlations or correspondences between components of the two terms. These could be observed in the routine of events, in particular the position given to music making in the order of events as an initial, terminal, or concurrent activity or something that alternates with other components of the routine. 【特别在仪式音乐中重要。】
Factorial Analysis
pp. 87 - 88
…contextualization can be extended beyond correlational analysis to the external factors perceived to operate in music. In Seegerian terms such factors can be described as “extrinsic pressures brought to bear upon musical processes” and, by extension, the social processes to which they are linked. They may be causal factors, determinants of order, grouping, and sequence, or of usage, and may be physical, social, political, economic, cultural, or historical. Thus one may distinguish between the nexus relationship between music and social, political or economic activities on the one hand, and on the other, the pressures exerted on music and music making by social, political, or economic forces which may result in varying forms of control of music or the use of music as an agent of social and political control, or protest.
Similarly one may distinguish between the nexus relations between specific cultural activities and musical activities and between the cultural factor in music, which determines the established resources, and ways of making music (Nketia 1981). Thus the ideas, concepts, beliefs, and values held by music makers and music users that become operational in performance contexts or in creative processes, considerations that govern tradition and innovation or processes such as change, integration and differentiation or sociopolitical considerations like ethnicity, filiation, age, gender, specialization, identity, prestige, autonomy and dependency, power and authority may be factors and sources of analysis and interpretation of contextual data.
Although it is the effect of all these on music and music making on which the ethnomusicologist focuses, now and then he may also look at the reverse, since influences are reciprocal, particularly where he has competence in the cognate field to which part of his data refers. For example, in a study of music and society, the scholar may observe not only the effect of social factors on music, but also the impact of music on society, individual behavior, consciousness of identity, and so forth.… On the same basis he could look at the reciprocal relations between music and trance, music and ritual, music and particular celebrations ? indeed any domain of human activity in which music is used, utilizing both situational and conceptual frames of reference.
pp. 88 - 89
Contextualization can thus be carried out on a deeper and more interpretive level. I believe that it is this possibility that Radcliffe-Brown had in mind… as we would now put it an ethnomusicological “study of the relations between music (and dancing) and religious rituals would provide interesting results” (1965:158), for the essence of such a study would lie not so much in its ethnographic descriptions as in the analysis and evaluation or interpretation of the data embedded in such descriptions.
Perspectives from Cognate Disciplines
…contextualization… can lead the ethnomusicologist to the use of conceptual frames of reference derived from cognate fields as he or she looks out for supplementary data or sources of explanation…. As Seeger has suggested, integrating ethnomusicological findings into the main body of musicological and general thought should follow the “reportorial,” analytical and evaluative phases of our work (Seeger 1977:5). 【实际便是收集、分析、评估】
pp. 89 - 90
There is so much overlap between the contexts of music making and the contexts in which social scientists observe society and culture…. The same can be said for the incursions we make into other disciplines such as linguistics, psychology, biology, and acoustics both for data not readily accessible to us as well as for theories that shed light on musical problems, for such incursions enable us to extend the focus of our inquiry or our techniques of analysis and interpretation.
In this respect ethnomusicologists are not alone, for all academic disciplines draw sensitizing concepts from one another…What seems critical in such cross-overs is how quickly we return to our base with the knowledge and insights we gain or the extent to which we are able to contribute to specific questions from a musical perspective or play a significant role in the refinement of theory. 【不要因为“跨学科”、“全方位”而迷路，回不到自己学科的基本目标----音乐！】 ...I believe that this is what Seeger meant when he described himself as “one who is not a philosopher but a musician who has tried to find a way of using the art of speech to deal with the art of music…” (1977: 38):
I do not pretend to be a philosopher. I admit I have trespassed upon the domain of philosophy but as one who looks at it more from the outside than from the inside …Music has long been the prime discipline of my life, and for me the prime function of musicology is to interpret this discipline to fellow carriers of my own and other cultures so that it will fit my own music and other musics as well. Then eventually the lot may be viewed empirically as well as conceptually as one coherent system. (1977:132)
Ethnomusicological Theory of Music
p. 91
If contextualization is a process which enables the scholar to clarify approaches to music and music making and the relationships and meanings that are established, it should lead in the final analysis to the systematization of formal and contextual data and the formulation of ethnomusicological theories of music.
p. 91
… formal and contextual relationships are…the outcome of principles that are applied by music makers…. Performance means knowing a given piece, the repertoire from which it comes, what parts are variable or not variable, and what procedures need to be used. It means also a certain measure of contextual awareness, including… cosmological, social, and other factors that determine where a particular piece may or may not be performed. That is why Oriental traditions … recognize the importance of this complex whole in their music theories, for cosmological connotations are also part of the concept of theory where they are systematized or institutionalized as an operational factor in music making.
It is not only operational theories that can be derived from formal and contextual analysis but also explanatory or interpretive theories of music, for the questions to which we must find answers are not only when and how decisions are made but also what choices are made and why.
l Ethnomusicological theories of music: 3 complementary levels
p. 92
Taking into account the reciprocal relationships between music and its contexts and the Seegerian ideal of integrating formal and contextual data which I uphold, we can formulate ethnomusicological theories of music in at least three complementary levels of abstraction corresponding to areas related to the musical experience: the formal, the social, and the semantic.
Formal theories of music … deal with musical sounds and systems of sounds, structures, textures and densities, compositional processes and procedures, and elements of performance practice. 【这里指的是有关音乐形态的理论。】The scope of such theories can be extended to include what emerges from field studies of sound sources as well as laboratory and experimental studies of musical phenomena. This area of theory is critical for understanding the communicative potential of music as a creative and aesthetic experience. 【音乐作为人的创造和审美过程。】
Social theories of music deal with the role and function of music and music making in the context of social relations, with particular reference to the variability of forms and structures in music arising from the bonds that link music, music makers, and music users, and the social perceptions that govern the performative and presentational choices that are made. This area of theory is critical for understanding the communicative potential of music as social experience. 【我所谓的“音乐的社会化过程”】
Semantic theories of music deal with the semantic implications of the formal and the social, with the expression and communication of sensibility or emotion and meaning in music and their exponents in sound, structure, and behavior or situational contexts, with symbolism or referential and associative meanings, with the process of encoding and decoding of messages, particularly in cultures that use techniques of surrogation. …this area…as critical for understanding the communicative potential of music as a cultural experience.【这里更多的是研究者的阐释。】
pp. 91 - 92
The importance of such theoretical formulations cannot be overemphasized, for I am convinced that our task in ethnomusicology is not only to develop a theory for ethnomusico1ogy …, but also ethnomusicological theories of music which expand the present narrow concept of music theory…there is room for particular theories 【针对个案研究的“理论”】 as well as general and comparative theories of music 【宏观性比较研究】, for there is really no reason why ethnomusicological theories of music should be confined to single cultures or groups of related cultures. Comparative music theory deserves more attention than we have been able to give to it. 【对音乐法规的宏观比较】In this connection it may be a good idea to explore theories of different idiomatic and social categories of music ? to develop strategies of inquiry and systematization that would facilitate the formulation of ethnomusicological theories of popular music as practiced in individual countries as well as world wide, or comparative theories of art music traditions around the globe that are not just a rehashing of literate theories. The latter should include intercultural theories of forms of contemporary art music which ethnomusicologists are in a much better position to study because of their knowledge of the musical cultures from which materials and techniques are drawn.
p. 93
To ensure that all such theories are based on empirical data and not on speculation, it is always important, as Seeger once remarked, to “refer verbal theory back to music practice,” 【不要纸上谈兵。】 first because as he notes “a principal aim of scholarly work is to effect the closest possible correspondence between the results of study and what is studied” (Seeger 1968:33). And second because if we do this, “we may not only benefit from practice but keep theory from running off the rails” (Seeger 1968:38). It is because of this that I have dwelt at length on contextual techniques of analysis and systematization which, in my experience, enable the scholar to keep the primary focus and concerns of his discipline constantly in mind,【始终不忘学科的首要关注----音乐】 for whatever conceptual frame of reference we choose, our analysis and interpretation must enrich our understanding of music and its relationship to its contexts.【我们的阐释必须是为了丰富我们对音乐的认知。】
Conclusion
p. 93
…it is also a personal testament, for my personal view of ethnomusicology is simply that of a discipline which combines formal and contextual techniques in the scholarly study of music.【这是一个简单却清晰的民族音乐学定义。】 Such techniques can be applied in different adaptations to a wide variety of music, including Western art music….
pp. 93 - 94
…the contextual technique is an integrative technique. It combines both analysis and synthesis at every step in the systematization process. Hence it avoids… the traditional practice of thinking of formal elements in complete oblivion of their socio-cultural or other contextual determinants and relationships... 【一种做法：只见音乐形态而不顾其与社会文化的关系】Similarly it avoids the traditional habit of thinking about the socio-cultural context or any frame of reference without regard to its reciprocal relationships with the forms and content of music or relevant aspects of the music making process. 【另一种做法：为上下文而上下文，不顾其与音乐形态的双向互动关系。】
