汉克杰 德国天主教学术交流中心
Geiger, Heinrich, The German Catholic Academic Exchange Service
原文Original
‘Chinese’ Music: A New Approach to the ‘Chinese’ in Chinese Music
“Chinese” music: a broad topic that includes a wide variety of methodological premises, which music historians, ethnomusicologists, music theorists, and systematic musicologists can use for fruitful journeys of exploration. In my paper I will use a socio-historical approach which is based on a certain understanding of music during Tang Dynasty (618-907) and some observations concerning the development of Chinese music after 1978.
The encounter between cultures produces a boundary, but also a “contact zone”, in which peoples, geographically and historically separated, come into contact with each other and establish ongoing relations.
Talking about Tang Music we could use the term “contact languages of music” to underline that “contact zones” enriched the musical tradition of China, beyond borders of ethnical and cultural homogeneity. It helped to shape a new cultural identity of China: Not in terms of ethnicity and separated physical, political and economic places, but in terms of cultural exchange and creating the possibility of continuity within a multicultural imperial setting.
I follow the idea that “Chinese” music is a product of a certain time and social space which involves the encounters of many social and cultural spaces. As such I understand it as a potentiality and as a new way to “shape the ways in which we conceive of cultural spaces.” “Fluidity” lead to changes in forms of musical expression and perspective within the social, cultural, or compositional paradigms of the musical culture of Tang China.
During Tang Dynasty the “Music of the ten divisions” (Shibu ji) existed in Ceremonial banquet music (Yanyue) 62 musical instruments had been used. According to their places of origin, they can be divided in four groups: Musical instruments from Iran, India, from the Xiyu-Region and from Central China. The most popular instruments, which nowadays everyone would conceive as “authentic” Chinese, are the four-stringed Pipa from the Xiyu-Region, and the five-stringed Wuxian from India. (Zeng, pp.83-86)
The Pipa is a four-stringed lute with a half-pear-shaped body. The immortal poetry “Song of the Pipa” by Tang Poet Bai Juyi (772-846) reveals the instrument’s great popularity during the Tang and Song (960-1279) Period. Since that time, the Pipa is one of the most popular Chinese instruments, and has maintained its appeal in solo as well as chamber genres.
On the one hand, Pipa was a barbarian instrument, brought to China by Central Asian nomads together with other musical instruments and many Central Asian tunes and dances. It fused with a type of instrument, also called Pipa, which already existed since Han Dynasty. On the other hand, some of the songs played by the lute Pipa gave expression to the feelings of Chinese officials who were sent by the Emperor to remote places along the borders of the Chinese empire. They used the Pipa to express their feelings of sadness and loneliness being far away from the centres of their beloved Chinese culture. As we will get to know from a poem by Tang Poet Du Fu (712-770), the “barbarian language” of the Pipa-Song has a double relevance concerning the foreign: Pipa as an at least partially “barbarian” instrument serves as a means of expression for deep feelings of homelessness and unrest, which are caused by the “barbarian” surrounding. Sentiments of officials who are Chinese in their hearts have found their expression in a “barbarian” way.
Let us read some lines of a cycle of five poems by Tang Poet Du Fu (712-770). In his “Poetic Thoughts on Ancient Sites” we read in the translation of Hans H. Frankel:
Groups of mountains and thousands of streams run to Jing-men.
It’s still there, the village where Mingfei was born and bred.
As soon as she left home the crimson terraces linked her to the northern desert.
All that remains is the green tomb facing the yellow dusk.
The painting showed imperfectly her spring-wind face,
With tinkling pendants, in the moonlit night, her soul comes back in vain.
Du Fu’s poetry is allusive, one which suggests possibilities and hides immediate experience under the veils of language rather than trying to communicate a phenomenal or emotional experience as directly as possible. One has to know that “crimson terraces” refer to the imperial palace and “green tomb” to a large man-made earthen mound, situated nine kilometres away from Hohhot, on the plain extending from the northern bank of the Dahei River. The “green tomb” was built to commemorate Wang Zhaojun, who in the poem is called Mingfei. During the Jin Dynasty (265-420) Wang Zhaojun was referred to as Mingfei (Concubine Ming) as the name Zhao could not be used by ordinary folks since the King Sima Zhao had the same surname. She sacrificed herself for the unity of China by marrying a Khan of the Xiongnu (Huns). The legendary “green tomb” is juxtaposed with the “yellow dusk” in the same line (“yellow” is a conventional attribute for “dusk”) and also with the “crimson terraces” in the preceding line. This means a simultaneous use of parallelism within the line and in the couplet to express a desperate feeling of loneliness which a Chinese may have, finding him-/herself in the vast grasslands outside the Great Wall.
Since the 3rd century the story of Wang Zhaojun has been elaborated upon and she has been touted as a tragic heroine. In the People’s Republic of China she is venerated as a symbol of the integration of Han Chinese and ethnic minorities of China. Wang Zahojun’s tomb (the “green tomb”) is now considered a symbol of China’s national unity.
The very global setting of Tang Culture leads us to the question what a concept like “Chinese music” could mean? What is “essential Chinese” when we talk about “Chinese” music? This question is not only of historical but also of present interest. After 1978 the search for identity in music proved to be a new cultural phenomenon in People’s Republic of China. According to my own opinion the search for identity – be it the search for personal or national identity - is one of the basic forces in modern art. But I am also convinced that there is nothing which could be conceived as an absolute or a “transcendental” essence constituting personal or national identity. Music history of Tang Dynasty is a good example for that.
译文Translation
“中国”音乐：理解中国音乐之“中国性”的一种新进路
“中国”音乐是一个可能在方法论上实现诸多建树的宽广话题，音乐史学家、民族音乐研究者、音乐理论或音乐学家都可能通过对这一主题的探讨而获取丰硕的成果。在本文中，我将运用社会—历史学的方法对这一主题进行探讨，这一方法的基础是对唐代音乐（618-907）的某种理解，以及对1978年后中国音乐发展的一些观察。在我的阐释背后有两个隐含的问题：1．当我们谈及不同文化时，为何我们要谈论相互分离的存在呢？2．我们该如何对待历史？只是为了寻找文化身份的感受吗？如果是这样的话，我们又应该如何理解身份问题呢？
不同文化之间的相遇所产生的不仅是壁垒，同时也是“交往地带”，处身其中，那些因地理和历史原因而被分离的人们得以开始交往沟通。在谈论唐代的音乐时，我们就可以使用“音乐的交往语言”这一术语。正是这种“音乐的交往语言”帮助中国重塑了一个文化身份，不仅在族裔和分离的政治和经济地域的意义上，而且在文化交流的意义，都使这一文化身份可能在多元文化帝国中延续存在。
我认为，唐乐是在一个特定时代和社会背景下，由诸多社会文化交融而成的产物。因此，它可以被视为我们理解文化空间构成的一种潜在可能性和一种新途径。对于唐乐来说，流动性是最重要的，它带来了音乐表达方式和观点的变化，其中包括了社会、文化、作曲范式。唐乐分为十类（十部伎），其中的燕乐使用了62种乐器。根据来源地，这些乐器又可以分成四类：分别来自伊朗、印度、西域、中原。其中最流行、现在看来最具中国特色的乐器是来自西域的四弦琵琶和来自印度的五弦琵琶。
下面，我们就重点来谈谈琵琶。唐代诗人白居易那首流传千古的《琵琶行》告诉我们，琵琶是唐宋期间（960-1279）最流行的乐器，它不仅适合独奏也适合其他室内演奏形式。一方面，琵琶作为蛮夷乐器，由中亚的游牧民族传入，带有了中亚的曲调和舞蹈的色彩。另一方面，琵琶又常用来表达那些被贬官员的感受。他们用琵琶来传达自己被迫离开中国文化中心，流落边陲的忧伤孤独。我们熟知的唐代诗人杜甫就是用“蛮夷之乐”的“琵琶语”来表现两种相关的异质情绪：首先，琵琶作为部分的“蛮夷之乐”可以用来抒发人在蛮夷之地所经历的深切的孤独和劳苦。其次，官员们可以用“蛮夷”的方式来表达内心的华夏（中国）之情。
让我们一起读一读杜甫(712-770)五首《咏怀古迹》中的一首：
群山万壑赴荆门，生长明妃尚有村。
一去紫台连朔漠，独留青冢向黄昏。
画图省识春风面，环佩空归月夜魂。
千载琵琶作胡语，分明怨恨曲中论。
杜甫的诗多用典故，也颇具暗示性，有许多意思不直接说出，而是隐藏在语辞背后。这里的“紫台”指的是宫殿；而青冢则是人用泥土造的大土丘，离呼和浩特有九里地，坐落在自大黑河流域北岸延展开来的大平原上。青冢的建造是为了纪念王昭君，也就是诗里提到的明妃。从晋代起，因避晋文帝司马昭的讳，被改称作明妃。她为了大汉与外族的和亲，下嫁给匈奴呼韩邪单于。传说中的“青冢”与同一行的“黄昏”并列，（“黄”常用来描述“昏”）并在“紫台”的下一行。这意味着在同一行或上下联中的并置都是要突出一个中国人深入骨髓的绝望孤独感，他/她发现自己身处在长城外的大片草原内。
自3世纪起，昭君的故事被人们不断演绎，她被推崇为一位悲剧女英雄。新中国成立后，她又被尊奉为汉族与少数民族之间团结的象征，王昭君的墓（青冢）如今也成了国家统一的标志。
唐代文化的“全球化”背景引出了一个问题，像“中国音乐”这样的概念到底意味着什么？当我们讨论“中国”音乐的时候，什么才是“本质上属于中国的东西”呢？这不只是一个历史问题，也是我们当下的兴趣所在。在1978年后的中国，在音乐中寻找自我身份成了一种新的文化现象。在我看来，寻找自己的身份——不管是寻找个人的身份，还是寻找国家的身份——是现代艺术的基本诉求。不过，我也认为，并不存在构成个人或国家身份的抽象或“超验”本质。在这方面，唐代音乐的历史为我们提供了一个很好的例证。