【5月25日】讲座预告：“音乐的移居: 东南亚的印度斯坦遗产”

马来加扎勒(ghazal)包含了印度斯坦的乐器，即将塔布拉鼓和手风琴作为主奏乐器。它们据称是由出于多种目的来到马来世界的印度人传入的。然而时至今日，马来加扎勒的实践并不显示出明显的印度斯坦音乐元素，只有沿用的印度斯坦手风琴和塔布拉鼓还暗示着印度斯坦的音乐面貌和声音。以马来加扎勒为例，其核心问题是“在马来加扎勒中被马来西亚学者及音乐家们所知的印度斯坦文化和音乐元素是什么”，“在马来加扎勒中使用印度斯坦音乐元素的程度如何”，及“马来加扎勒对印度斯坦音乐的化用（assimilate）中哪种跨文化方式可以被探寻”。其结果可以对文化挪用的过程做出更细致和精确的洞察。印度斯坦音乐文化的元素被应用在马来加扎勒的过程被学者们从方法论上加以探查，这一研究的时间框架基本包含过去的几十年。然而，对马来加扎勒的历史语境和演化追根溯源，其时间框架必须延伸到19世纪。东南亚对印度斯坦文化的音乐印记的选择性容许是本场讲座的主题。

 

Malay ghazal includes Hindustani musical instruments, i.e. tabla and harmonium as prominent musical instruments which are said to be brought by Indians who came to the Malay world for various purposes. However, today, Malay ghazal practices do not demonstrate obvious Hindustani music elements. Only the adaptation of Hindustani harmonium and tabla imply Hindustani musical appearances and sound. Taking Malay ghazal as an example, the core questions are ‘what is known to Malaysian scholars and musicians on Hindustani cultural and musical elements in Malay ghazal, to what extent Hindustani musical elements are used in Malay ghazal, and which cross-cultural approaches in assimilating Malay ghazal regarding Hindustani music can be detected. As result, a more detailed and exact insight into processes of cultural appropriations can be given. Methodically, the process of how elements of Hindustani music culture are applied in Malay ghazal is investigated. The time frame of this study will include essentially the last decades. However, for examining origin, historical context and evolution of Malay ghazal, the time frame must reach back into the late 19th century. A central concept explored is the selective tolerance towards musical traces of Hindustani culture in a part of Southeast Asia.

 

M.L. Chinthaka Prageeth Meddegoda，斯里兰卡科伦坡视觉与表演艺术大学北印度音乐高级讲师。他曾在印度勒克瑙(Lucknow)和贝拿勒斯印度教大学(Banaras Hindu University)学习北印度古典音乐。2015年，他在马来西亚博特拉大学获博士学位，导师为Gisa Jähnichen教授。他的研究兴趣包括亚洲多种民间和传统音乐，以及人类社会、哲学和文化研究的一般问题。他自2013年成为国际传统音乐学会会员，曾发表多篇学术论文并在国际会议上展现其研究成果。他是《民间乐器研究(STUDIA INSTRUMENTORUM MUSICAE POPULARIS)》编委会成员，2012-2015年曾任UPM音乐研究系列丛书副主编、UPM音乐系ARCPA音视频档案主管

 

Senior Lecturer of North Indian Music at the University of Visual and Performing Arts in Colombo, Sri Lanka. He studied North Indian Classical Music in Lucknow and at the Banaras Hindu University, India. 2015, he completed his PhD at Putra University, Malaysia, under supervision of Prof. Dr. Gisa Jähnichen. He is interested in popular and traditional music of various Asian cultures, as well as general issues of human society, philosophy and cultural studies. He has been a member of the International Council for Traditional Music since 2013, published several academic papers and presented research outcomes at international conferences. He is editorial board member of STUDIA INSTRUMENTORUM MUSICAE POPULARIS, was co-editor of the UPM Book Series on Music Research, and main audiovisual archivist of ARCPA at the UPM Music Department from 2012-2015.

 

重要出版物：

Ethnic Labelling: Malaysian Perception on Indian Performing Arts and its Impact on Malay Music. UPM Book Series on Music Research (2015), 7. Serdang: UPM Press, 103–116.

Selective Tolerance of Hindustani Music Practices in Malay Musical Life. Collection of Essays. Osaka: Museum for Ethnography (2017, in progress).

Adaption of the Harmonium in Malaysia: India or British Heritage? Studia Instrumentorum Musicae Popularis III (New Series, 2013). Münster: MV-Wissenschaft, 219–238.

Voice Cultures in Hindustani Classical Music. Music and Mind. UPM Book Series on Music Research (2014), 6. Serdang: UPM Press, 71–88.