摘要
因编撰《中国民族音乐》教材，近三年来，笔者将中国民族音乐四大集成已经出版的各省（市、自治区）卷本作了一番学习，在取得巨大收获的同时，对“集成”的历史性贡献有了进一步认识，并对“集成后”的相关问题作了初步思考，现略述如下，以求教方家。
What follow-up actions should we take after the compilation of The Collection of Chinese National Music The author believes that the two major tasks are: 1)revision and supplement; and 2) application. 1) Concerning the revision and supplement of the Collection: i) Due to the unprecedented scale of the project and lack of experience and precedents in similar forms, insufficient attention has been attached to the cultural backgrounds of various music forms and music works, or in other words, in spite of such requirements, no balanced descriptions have been provided in the course of concrete undertaking, and therefore, it has caused unfavourable effects upon the research and application of the information in the Collection. It is hence necessary to supplement cultural background information of all music forms, music works and musicians as much as possible in the same way as ethnomusicological chronicles, for otherwise, those music forms and music works short of background information would be nothing but rubbish, just like archaeological discoveries without relevant background information. ii) There should be strict proofreading again over the musical scores to ensure the reliability of notation. It is recommended that reprints of the Collection should be accompanied by audio/video recordings so that researchers may do the proofreading or notation once again on their own when they use the materials, just to ensure the accuracy of the notation. iii) It is advised to improve the classification of ethnic groups, geographical regions and music forms. In the present edition, no indication is made for those multiracial areas as to which music works are owned by which one or more ethnic groups, or what peculiarity or creaticity each of the ethnic groups has in singing or performing the music works. This has led to the difficulty in researching and using the Collection, and has even made the materials useless in a sense. iv) It is also necessary to provide ″post-Collection″ supplements. In recent years, the National and Ethnic Culture Development Centre of the Ministry of Culture launched a survey on the status quo of Chinese traditional theatre, folk dance and folk music, which enabled researchers and related staff to make investigations and studies on the cultural and natural background changes concerning varied influential music forms in China, the social and historical environment for research and protection work, as well as relevant issues on present situation, development dilemma and protection of the targeted objects, with much fruitful results in the end. The au-thor here takes this as a very significant project, and thus suggests that the work should be further intensifed and improved to be more comprehensive and in -depth, so as to preserve more academic and historical materials for the sake of Chinese national music. 2) Concerning the application of the Collection: i) In order to optimize the social values of the Collection, outstanding works from the repertoire of the Collection should be selected for usage in ordinary people's daily music life and also in programmes of radio, television and other mass media. ii) Regulations and rules for application should be studied and formulated so that researchers may have better access to the Collection in their academisc research and the academic value of the Collection would be maximized. Obviously, the efforts of the National and Ethnic Culture Development Centre of the Ministry of Culture in digitizing the materials in the Collection for better access to the data are strongly commendable. However, neithor regulations for facilitating researchers to use the Collection nor copyright administration measures have been made so far, and this becomes the weakness in the utilization of these materials. It is thus advised that relevant departments should join their efforts in formulating regulations and rules for the sake of both protecting the legal rights of copyright owners and effectively using the existing materials in the Collection. iii) It is recommended to establish a Chinese Music Archive in which these valuable materials and historic achievements might be collected, managed and utilized in the most effective way.
出处
《人民音乐》
CSSCI
北大核心
2010年第1期70-71,共2页
People’s Music
