《亚欧音乐研究》英文期刊丨2025年夏季（第15期）

摘要

我们之所以仰望那些在近代音乐舞蹈历史遗产中的杰出人物，往往因为他（她）们的存在曾照亮了一个民族或文化的山峰，这些山峰并非仅为孤立的文化单元，而在音乐历史的版图上留下了独特的、乃至不可替代的“全球时刻”。与欧洲音乐史学中强调的，如巴赫、莫扎特、贝多芬等人物的“全球时刻”不同，这些原被视为偏于一隅的个体，他（她）们超越地方经验、跨越文化边界，并以自己的音乐创-演活动接入全球网络，则是我们从微观史认知全球音乐史的重要方面。本文的主角赛努拜尔·吐尔逊，即凭籍其深厚的艺术造诣与对文化根源的深刻理解，成为连接地方与全球的重要桥梁。通过为泰戈尔、阿拜·库南巴耶夫、叶赛宁等诗人的作品谱写音乐，她讴歌了不同国家、时代和民族的文学与文化遗产，创造了一幅多彩的音乐对话图景。她的作品生动展现了艺术家如何突破文化与地理界限，促进对多元音乐传统的全球理解，从而创造出独一无二且不可替代的“全球时刻”。

关键词：赛努拜尔·吐尔逊；维吾尔族音乐家；泰戈尔；多民族互译；全球时刻

Abstract

It is often said that those prominent personalities in the recent history of music and dance heritage contribute significantly to the cultural landscape of a nation or community. These peaks are not isolated cultural entities but leave unique and irreplaceable “global moments” on the map of music history. Unlike the “global moments” highlighted in European music historiography, exemplified by figures such as Bach, Mozart, and Beethoven, these individuals gain global significance through transcending local experiences, crossing cultural boundaries, and connecting totheglobal network via their creative performing activities. This microhistorical perspective is essential for understanding global music history. This paper will explore the “global moments” created by prominent figures in a nation’s music scene, focusing on the Uyghur musician Sanubar Tursun. Renowned for her profound artistry and deep connection to her cultural roots, Sanubar Tursun has become a vital bridge between the local and the global. By composing music to the poems of Tagore, Abai Qunanbaiuly, Yesenin, and others, she not only celebrates the literary and cultural heritage of various countries, eras, and ethnicities but also creates a rich mosaic of musical dialogues. Her work exemplifies how an artist can transcend cultural and geographical boundaries, fostering a global appreciation of diverse musical traditions and thus creating unique and irreplaceable “global moments.”

keywords:SanubarTursun, Uyghur musician, Rabindranath Tagore, multiethnic translation, global moment

摘要

越南歌曲的出现是受法国文化影响的必然结果。越南新音乐的出现使越南人有了自己的歌曲，这些歌曲不仅继承了西方文化元素，也融入了越南人的创作特色。东西方文化交流在此领域以多种形式得以体现。歌曲内容、主题、风格和体裁特征不仅反映了当时越南社会与人民的思想与情感，也体现了法国文化传入越南的方式。音乐特征、民族性和西方文化影响在音乐结构、素材和调性这三个代表元素中得以表达，这也体现出歌曲体裁中的东西方文化交汇。

关键词：法国文化；文化适应；越南；歌曲；1975年前的越南音乐

Abstract

Vietnamese songs emerged as a necessity due to the influence of French culture. When Vietnamese New music emerged,Vietnamese people had their own songs. These songs not only inherit elements of Western culture but also bring characteristicsofVietnamese people’s composition. The interaction between Eastern and Western cultures in this genre is expressed in various ways. The characteristics of content, theme, style, and genre of the song reflect not only the Vietnamese society of the time and the thoughts and emotions of the Vietnamese people, but also the ways of importing French culture into Vietnam. The musical characteristics, ethnicity, and influences of Western culture are expressed through three typical elements such as structure, material, and tonality. This created an intersection of Eastern–Western culture in the genre of the song.

keywords:Frenchculture, acculturation, Vietnam, song, Vietnamese music before 1975

摘要

本文探讨了阿塞拜疆民族音乐学家埃米娜·埃尔达罗瓦（Emina Eldarova）[Əmin ə Əldarova]的生平与学术成就。该研究基于一项新项目，旨在整理其此前未被研究的职业档案。20世纪30年代，在作曲家乌泽伊尔·哈吉贝利的指导下，她作为阿塞拜疆苏维埃社会主义共和国的首位阿西克[aşıq]音乐学家，致力于研究吟游诗人阿西克。自学生时代起，她便开展了长达数十年对19世纪大师培养的最后一代阿西克的田野调查。作为活跃的公共学者，除了发表学术文章和演讲外，她还撰写通俗文章，参与广播和电视节目。她于1984年出版的著作《阿塞拜疆阿西克艺术》（Исскуство азербайджанского ашугов）被视为该领域的奠基之作。她于2008年逝世，留下了包含田野笔记、照片、书信、录音以及已出版和未出版作品集等专业档案。2024年，笔者（安娜·奥尔德菲尔德）和卡米拉·达达什-扎德启动了“埃尔达罗瓦档案”合作遗产保护项目。该项目旨在整理和保存档案材料，目标是将埃尔达罗瓦的学术成果引入民族音乐学、民俗学、口头叙事研究、高加索研究以及后苏联民族研究等领域的全球学术讨论。本文基于卡米拉·达达什-扎德与笔者于2024年在巴库举行的“国际音乐舞蹈传统学会研究小组联合研讨会：突厥语世界的音乐与舞蹈以及全球音乐史”上所作的报告《探索档案：埃米娜·埃尔达罗瓦对阿塞拜疆阿西克研究的贡献》。本文将通过个人访谈、档案资料及相关研究成果，概述埃尔达罗瓦的生平与学术成就，提前揭示档案中的重要内容。

关键词：传记研究法；埃米娜·埃尔达罗瓦；视听资料保存；类型描述；全球学术对话

Abstract

This paper discusses the life and work of Azerbaijani ethnomusicologist Emina Eldarova [Əmin əƏldarova] in the context of a new project to open her previously unexamined professional archives. Mentored by composer Uzeyir Hajibeyli in the 1930s, Eldarova was Soviet Azerbaijan’s first ashiq musicologist and spent her career researching the bardic ashiq [aşıq] genre. Starting from her student days, she conducted decades of fieldwork with the last generation of ashiqs trained by 19th-century masters. She ledtheactive lifeofa public scholar, contributing general interest articles, radio, and television appearances, along with her academic articles and presentations. Her 1984 book, The Art of the Azerbaijani Ashiq [Исскуство азербайджанского ашугов] is considered the foundational workonthe genre. Eldarova passed away in 2008,leavinga professional archive of field notebooks, photographs, correspondence, recordings, and col- lections of published and unpublished writings. In 2024, Anna Oldfield and Kamila Dadash-zadeh began a Collaborative Heritage Preservation Project, the Eldarova Archives. This project is to catalog and preserve archive materials with the goal of bringing Eldarova’s scholarship into global conversations in fields such as Ethnomusicology, Folklore, Oral Narrative Studies, Caucasus Studies, and Post/Soviet Nationalities Studies. This paper is based on the presentation “Exploring the Archives: Emina Eldarova’s Contribution to Azerbaijani Ashiq Studies” given by Kamila Dadash-zadeh and Anna Oldfield at the Joint Symposium of the International Council of Music and Dance Study Groups for Global History and Music and Music and Dance of the Turkic World held in Baku in 2024. Drawing from personal interviews and archives as well as research, this paper will overview Eldarova’s life and work while giving a previewofarchive highlights.

keywords: Biographical methods, Emina Eldarova, audiovisual preservation, genre description, global conversations

摘要

本研究探讨了泰国传统乐器“小碰铃”（Ching）在亚洲音乐文化大背景下的历史与文化历程。通过考古发现、历史文献及田野访谈，研究者追溯了Ching自丝绸之路源起并传播至泰国并适应当地环境的历程。本分析将揭示Ching如何成为泰国民族身份的象征，以及其本地化变迁所反映的本土传统与外来影响间的动态互动过程。通过考察Ching在各区域乐团中的角色及其物理与声学差异，本文强调了该乐器对文化遗产保护以及对泰国音乐传统与全球影响持续对话的深远影响。本研究有助于深入理解全球化语境下塑造音乐身份的社会文化动态过程。

关键词：小碰铃（Ching）; 文化传承；乐器；丝绸之路；泰国音乐文化

Abstract

This study explores the historical and cultural journey of the ching, a traditional Thai musical instrument, within the broader context of Asian musical cultures. Using archaeological findings, historical documentation, and field interviews, the researchers trace the diffusion and adaptation of the ching from its origins along the Silk Road to its contemporary significance in Thailand. The analysis reveals how the ching has become a symbol of national Thai identity, undergoing local transformations that reflect the dynamic interactions between indigenous practices and foreign influences. By examining the ching’s role in various regional ensembles and its physical andacousticalvariance, this paper highlights the instrument’s impact on the preservation of cultural heritage and the ongoing dialogue between tradition and global influences in Thai music. This study contributes to a deeper understanding of the sociocultural dynamics that shape musical identities in a globalized context.

keywords: Ching, cultural transmission, musical instruments, silk road, Thai music culture

摘要

哈萨克族在新疆北部的阿勒泰、伊犁、塔城三个地区均有分布。本文聚焦新疆阿勒泰地区哈萨克族冬不拉音乐传统，从实践与叙事两个维度展开研究。当代阿勒泰处于游牧社会向定居社会转型后期，部分区域仍延续转场传统，音乐生活广泛地植根于普通民众的日常生活，作乐动机与游牧社会习俗保持着深层联结，文化传统保存相对完整。本研究选取冬不拉表演作为核心切入点，源于其作为哈萨克族代表性乐器的普遍性——广泛参与各类音乐活动，其表演实践方式在不同地域与体裁间呈现出显著差异。冬不拉也因此成为串联多元音乐体裁、揭示区域音乐风格特征与文化整体性的核心线索。

关键词：哈萨克族；阿勒泰；冬不拉；曲目库；艺术作品

Abstract

Kazakhs are to be found primarily in three regions of northern Xinjiang: Altai, Ili, and Tacheng. I chose Altai as my research area because it is still at the end of an era, passing from nomadic to sedentary societies, and most of the places are still in transition. Compared with musicians engaged in artistic work, Altai has more ordinary musical activities. At the same time, the purpose of music is still related to the customs of a nomadic society, and cultural traditions are more well preserved. I chose to use dombra performance as a starting point because this representative instrument of the Kazakh people is used up to now in a variety of musical events. The dombra can be an overarching red thread that connects various playing methods and thus sees the unity of music and regional musical habits.

keywords:Kazakhs, Altai, Dombra, repertoires, artistic work

摘要

音乐已成为一种重要沟通形式，可唤起相关非音乐元素的象征性联想，准确地通过音乐创作来象征故事中的系列事件。马来西亚当代歌剧《塞里坎迪·努桑塔拉》改编自关于马来西亚传奇公主的短篇故事，该作品由塔祖尔·塔朱丁（Tazul Tajuddin）创作。这部歌剧的音乐展现了一种与现有以民间故事为基础的音乐剧不同的风格特征。它打破常规功能性调性体系，其乐思构建运用当代音乐语言，创新乐器音色并扩展演奏技巧。在塔朱丁的创作技法中，有一个贯穿全作的核心要素是强调将马来传统音乐文化与后现代创作实践衍生的素材融入音乐，从而实现与文本之间极具象征性的微妙关联。为了突出新颖性这一核心特征，塔吉丁发展出极具个人风格的音乐语言，这些语言更多地依赖于模糊调性和民间音乐灵感，摒弃传统和声理论中关于终止式与和声进行的观念，这些观念暗示着不协和音需要解决。摆脱或削弱传统和声体系的束缚，使他能够以全新的方式组织这部歌剧中的众多理念、结构规范和表现元素。因此，这种处理方式拓展了在整部歌剧中传达更抽象的情感表达和戏剧效果的可能性。

关键词：歌剧；音乐分析；马来西亚音乐；跨文化创作；音乐象征主义

Abstract

Music has become one of the essential communication forms used to evoke symbolic associations of the related extra-musicals,precisely to symbolise a series of events in a story by means of music composition. In the Malaysian context, there is a contemporary opera adaptation of short stories about the legendary Malaysian princesses entitled Opera Serikandi Nusantara, composed by Tazul Tajuddin. The music of this opera reveals a stylistic feature different from that of the existing local folktale-based musicals. It conjures up a sense of departure from the conventions of functional tonality in which the musical ideas are organised through the contemporary musical language and imaginative use of instrumental timbre and extended techniques. A vital aspect of Tajuddin’s compositional techniques that encompasses the whole work is an emphasis on integrating materials derived from the cultures of traditional Malay music and postmodern compositional practices into its music to allowforgreat subtlety of symbolic connection with the text. To emphasise novelty as the salient characteristic of the composition, Tajuddin developed highly personal idioms that depended more on tonal ambiguity and folk inspirations than conventional harmony, abandoning the old notions of cadences and harmonic progressions that suggest the need for discords to be resolved. Moving away from or diminishing the traditional system of harmony led him to new ways of organising a multitude of ideas, structural parameters and expressive elements in this opera. Consequently, this kind of treatment expands the possibility of conveying a more abstract level of emotional expression and dramatic effects throughout the opera.

keywords: Opera, Music analysis, Malaysian music, Intercultural composition, Musical symbolism

摘要

斯里兰卡人的原住民（阿迪瓦西）概念指生活在某个国家或地区并拥有独特语言、文化、生活方式并代代相传，在该国家或地区具有独特性的独立社群。原住民社群是国家早期历史的传承者，斯里兰卡的原住民被称为“韦达”（Veddas）。他们拥有独特的语言、文化和生活方式，并自称“瓦尼亚拉埃托”（Wanniyalaeto，意为“森林居民”）。本研究的目的是探讨丹巴纳原住民社群音乐的独特性，并从民族音乐学角度分析其音乐特征。本研究采取定性分析与定量分析这两种分析方法。数据收集则通过访谈录音、田野观察、正式讨论以及研究现有相关文献等方式。吟唱的基本特征可在阿迪瓦西（Ādivāsi）民间的韦迪（Vedi）颂歌中窥见，而人们初次尝试以歌声吟诵文字的痕迹亦体现在韦迪歌曲中。斯里兰卡丹巴纳（Dambana）地区的韦迪达鲁纳拉维利（Vedi Daru Nalavili，即原住民摇篮曲）是斯里兰卡民族音乐学研究的重要资料来源。本研究通过分析阿迪瓦西音乐的乐谱和调性来探讨其独特性，并引入了一种分析音频录音的新方法。研究运用Python编程提取并过滤音频信号的音高-时间数据，随后通过Origin软件做图形化分析。此方法不仅可分析音乐的调性，还关注相邻音程间的比值。本研究的重要意义之一在于，尽管学界已有对阿迪瓦西社群音乐的研究，但自迈尔斯（Myers）于1911年在塞利格曼（Seligmanns）的著作中对阿迪瓦西音乐开展分析以来（这可能是此音乐被首次讨论的时间），尚未开展针对阿迪瓦西社群音乐的定量研究。本研究进一步表明，韦达人的音乐确实可被视为史前音乐，而保护这项非物质文化遗产在当今时代至关重要。

关键词：阿迪瓦西；史前音乐；斯里兰卡原住民音乐；韦达社群

Abstract

Indigenous people in Sri Lanka (Ādivāsi) are usually an isolated community living in a country or region who have a specific language, culture, and way of life belonging to generations that are endemic to each country or region. While indigenous communities are the inheritors of the earliest history of a country, those in Sri Lanka are referred to as the “Vedi” community (Veddas). Possessing a unique language, culture, and lifestyle, they have coined the term “Wanniyalaeto” (forest dwellers) to refer to themselves. The purpose of this research is to identify the music of the Dambāna Ādivāsi community and to examine the characteristics of their music from an ethnomusicological aspect. The analysis of this research is twofold: qualitatively and quantitatively. Data was collected through the use of audio-recorded interviews, field observations, formal discussions as well as studying existing literature on the matter. The basic features of chanting can be seen in the Vedi chants of the Ādivāsi folk, while reflections of man’s first attempts at singing a line of words can be gleaned at through Vedi songs. Vedi Daru Nalavili (indigenous lullabies) in the Dambana region are a prominent source in the study of ethnomusicology in Sri Lanka. In finding the unique identity possessed by Ādivāsi music through examination of the notations and tonality of their music, a new method of analyzing audio recordings is introduced in this study. Here, the use of Python programming to extract and filter the pitch-time data of an audio signal and then graphically analyze it using Origin is utilized. Within this analysis approach, the tonality of the music, as well as the quotients between successive intervals was also noted. A significant aspect of this study is that while the music of the Ādivāsi community is discussed in researches, a quantitative study into it has not been approached since Myers’ analysis of Ādivāsi music, which is found as a chapter in the text by the Seligmanns in 1911, which might also be the given time frame of the identification. This study also goes on to show that the music of the Veddas can indeed be considered as prehistoric music3, and the importance of conserving this intangible cultural heritage is of utmost importance in contemporary times.

keywords: Ādivāsi, prehistoric music, Sri Lankan indigenous music, Vedda community

摘要

本文在回顾已有对东南亚大陆克木笛歌的深入研究基础上，展现了一些新观点，本文呈现的小型研究，来源于对相关研究的重新解读以及在老挝克木人中的多次田野调查中积累的材料，旨在揭示古老社会结构如何被建构，及其如何转变为当代社会的运作单元。本文将克木笛歌作为传统权力存在的指标，从历史视角重新研究这些歌曲。文章特别强调了知识个体化及在另一层面的统一与不断应用。这项小规模研究可能为人类历史中音乐实践作为社会变革指标和结果的知识体系做出贡献。

关键词：克木笛歌（tot, pi）；东南亚；音乐制作；歌曲；民族音乐学家

Abstract

Khmu Flute Songs in Mainland Southeast Asiawerealready part of deeper investigations, which are reviewed here, yet some newpointsappeared since then. Updated re-readings need to be undertaken much more often in recent times. This paper is based on it and represents a small personal study of available materialswonover time during manifold fieldwork experiences in LaosamongKhmu people. It will shed light on the social construction of archaic societal structures and their transformation into the recent working units. Taking Khmu Flute Songs as an indicator for the presence of traditional power, these songs are re-investigated from a historical viewpoint. Special emphasis is also given to the individualization of knowledge and the unification of theirstreamedapplications on another level. This small-scale study may contribute to the body of knowledge on musical practice as an indicator and result of social changes in the history of humankind.

keywords: Khmu tot and pi, Southeast Asia, music production, songs,ethnomusicologists

摘要

国际音乐舞蹈传统学会（ICTMD）是一个致力于研究、记录和推广全球音乐与舞蹈传统的国际学术组织。该组织最初于1947年以“国际传统音乐学会”（ICTM）之名成立，并于2023年更名为国际音乐舞蹈传统学会，以体现对音乐与舞蹈研究的双重承诺。ICTMD通过举办学术会议、成立研究小组和出版，促进民族音乐学家、舞蹈研究者和实践者之间的跨学科合作，支持对不同文化中多样化音乐和舞蹈传统的学习、实践、记录、保护和传播。第48届ICTMD世界大会于2025年1月9日至15日在新西兰（毛利语：Aotearoa）的惠灵顿举行，汇聚了来自不同背景的学者、表演者和实践者，共同探讨音乐与舞蹈的全球视角。值得注意的是，这是ICTMD世界大会首次在新西兰举办。本次大会由惠灵顿维多利亚大学（Te Herenga Waka）和新西兰音乐学院（Te Kōkī）联合主办，旨在促进跨学科对话，展示最新研究成果，并加强学术界与表演艺术界间的联系。

关键词：国际音乐舞蹈传统学会；惠灵顿会议；主题；表演；评论

Abstract

The International Council for Traditions of Music and Dance (ICTMD) is a global scholarly organization dedicated to the study, documentation, and promotion of music and dance traditions worldwide. Originally founded in 1947 as the International Council for Traditional Music (ICTM), it was renamed in 2023 to reflect its commitment to both music and dance research. ICTMD fosters interdisciplinary collaboration among ethnomusicologists, dance scholars, and practitioners through conferences, study groups, and publications, supporting the study, practice, documentation, preservation, and dissemination of diverse music and dance traditions across cultures. The 48th ICTMD World Conference was held in Wellington, Aotearoa New Zealand, from 9 to 15 January 2025, bringing together scholars, performers, and practitioners from diverse backgrounds to explore global perspectives on music and dance. Notably, this marked the first time the ICTMD World Conference was hosted in New Zealand. Organized by Te Herenga Waka, Victoria University of Wellington, and Te Kōkī, the New Zealand School of Music, the conference aimed to foster interdisciplinary dialogue, showcase new research, and strengthen connections between academia and performing arts communities.

keywords: ICTMD, Wellington conference, themes, performances, reviewing

摘要

如何向博物馆的游客们介绍阿塞拜疆传统音乐，尤其是乐器？无论他们是儿童或是成人爱好者，音乐家或研究人员，本地人或外国人？本文分享了阿塞拜疆国家音乐文化博物馆在诠释乐器方面的多重方法，并聚焦于中世纪在穆斯林世界常见但如今大多已消失的乐器。这些乐器由马俊·凯里莫夫（Majnun Kerimov）教授复原，现已纳入博物馆的展览体系，并在该馆“古代东方乐器合奏团”的音乐会实践中演奏。

关键词：民俗学；中世纪乐器复制品；阿塞拜疆国家音乐文化博物馆；马俊·凯里莫夫；博物馆观众

Abstract

How to explain Azerbaijani traditional music, especially musical instruments, to museum visitors, be they children or adult amateurs, musicians or researchers, locals or foreigners? This article shares the experience of the State Museum of Musical Culture of Azerbaijan in a multilayered approach to interpreting musical instruments, focusing on those that were common in the Muslim world in the Middle Ages and have largely disappeared. Reconstructed by Professor Majnun Kerimov, they have taken their place in the museum’s exposition and in the concert practice of the museum’s Ensemble of Ancient Eastern Musical Instruments.

keywords:Folklore,replicas of medieval musical instruments, State Museum of Musical Culture of Azerbaijan, Majnun Kerimov, museum visitor

摘要

本文首次讨论了20世纪至21世纪哈萨克传统音乐表演中合奏形式的演变历程，探讨了合奏形式从主调织体向复调织体的转变。文章分析了哈萨克斯坦集体性音乐创作出现的历史背景，即从20世纪30年代的早期哈萨克传统器乐合奏开始并延续至今。本文特别关注哈萨克音乐艺术中的杰出人物，如阿赫梅特·朱巴诺夫（Akhmet Zhubanov）和博拉特·萨里巴耶夫（Bolat Sarybayev），他们为合奏和管弦乐表演形式的发展做出了重要贡献。本研究单辟章节讨论合奏乐的器乐创作及曲目的转型及相应的功能特征。作为传统与创新融合的具体音乐范例，本研究选择以巴乌尔扎恩·阿克塔耶夫（BauyrzhanAktaev）创作的《卡伊兰·埃利姆》（由阿斯塔纳萨兹国家哈萨克传统乐器合奏团表演）为分析对象。本研究强调哈萨克传统合奏乐作为一种普遍的表演形式，反映了哈萨克斯坦民族音乐遗产无与伦比的丰富性。

关键词：民间乐团；传统音乐；民族音乐学；文化遗产；奎[күй]

Abstract

For the first time this review examines the evolution of ensemble forms in Kazakh traditional musical performance from the 20th to the 21st century, transitioning from monophonic to polyphonic textures. The historical prerequisites for the emergence of collective music-making in Kazakhstan are analyzed, beginning with the early Kazakh traditional instrumental ensembles of the 1930s and continuing to the present day. Particular attention is paid to the outstanding figures of Kazakh musical art, such as Akhmet Zhubanov and Bolat Sarybayev, who made significant contributions to the development of ensemble and orchestral performance forms. A distinct section of this study focuses on the transformation of instrumental composition and repertoireofensembles, as well as their functional features. As a specific musical example demonstrating the synthesis of tradition and innovation has been chosen the analysis of the kyui “Qairan Elim” by Bauyrzhan Aktaev performed by Astana Sazy—the State Ensemble of Kazakh Traditional Instruments. This study highlights the profound significance of Kazakh traditional ensembles as a universal performance genre that reflects the unparalleled richness of Kazakhstan’s national musical heritage.

keywords:Folk ensemble, traditional music, ethnomusicology, cultural heritage, kuy [күй]