recording all music;
the composition of music-musical form and description (musical instruments: form, tuning, performance, combination method, other performance combinations; Singing: form, phonetic transcription of lyrics and translation; Music research and analysis: scale, melody, form, original music theory and terminology; )
Performers-name, age, education and occupation;
Basic information of music activities, performance occasions and religious beliefs;
Relevant historical materials-origin, dissemination and inheritance;
cultural function-participants' experience, audience and communication;
Is there any ethnic concept involved in this kind of music activity and the classification of people?
if yes, what ethnic group, economy, politics, religious identity and social norms are they;
emotional release, expression and symbol;
the aesthetic concept and entertainment of actors and audiences;
continuity and stability, the integration of society, communities and ethnic groups;
a comprehensive study of everything;
conclusion.
The writing paradigm of Seeger in Why the Suya People Sing —— A Musical Anthropological Study of an Amazonian People, Mr. Ming Chen Dao summed up six points:
1. Provide scenes of musical activities, and select and separate them from the daily life of the subjects; 2. Describe someone doing something directly in the third person; 3. Dilute or eliminate the personality of the researcher. In the description, there are only people with music and no personality; 4. Explain the conditions, occasions and background of the field trip at appropriate times and paragraphs, reflecting the authority of the information; 5, a complete description of a central event, at length; 6. Let the locals speak for themselves.
In the article "The Structure of National Musical Records", Mr. Shen Qia also listed the structure of national musical records, with 9 items, including:
various words and expressions related to music and their meanings; We are required to describe objectively and in detail the various traditional expressions of music in a culture and the people belonging to that culture, and not to use such musical theoretical terms as melody, mode, scale and beat.
the distribution of music types; The definition should be single and clear, considering the original nature, not only connecting with social life, but also considering the characteristics of its own form. Teacher Shen Qia disagreed with the description of color and thought that the concept could not be clearly defined. He suggested using varieties and styles and considering the original nature.
description of music; This is a description of musical form, not a literary description. It is the most basic and difficult for ethnography. It can be described by a specific individual or a type of musical style. The most common is notation, which is sometimes combined with recording, writing or statistical description. However, we should pay attention to whether individual specimens are typical and understand the interaction between such specimens, so it is best to combine individual description with type description. Statistical techniques are rare in China, and they are promising.
description of musical instruments; It's relatively easy, but don't attribute the formation of a style to musical instruments, or attribute the sound of
musical instruments to the performance style. We should recognize musical instruments as a relatively independent cultural phenomenon. Using SH classification in the description of musical instruments. In addition, ethnomusicology should also explain the relationship between musical instruments in a culture and their cultural background, and other necessary matters, such as the original name of musical instruments, legends, melody, tuning method, production method, values, symbolic significance, who is in what occasion/function, the background of performers, relevant documents (notation, score), archaeological materials, etc., or drawings with scales
.
the way music is passed down;
Music organizations, musicians and their status in the culture;
Music and music-related cultural context; The occasions of using this music (sacrificial rites, weddings, funerals, courtship, labor, coming of age ceremony, club joining ceremony, witchcraft, the time and occasions of using music in a year), the ways of using music (openness, secrecy, collective, individual, universal, exclusive, the position, gender and age of the users of this music) and its value function. In addition, we can also pay attention to other cultural and artistic phenomena associated with this kind of music, their combination forms with music and their functions in music, such as music and language, dance, drama and modeling;
other references.
Comparing the writing methods of musical ethnography between the East and the West, we find that their similarities are as follows:
They all pay special attention to people and their role, status, value and cultural characteristics in music activities in their descriptions. They are very comprehensive in recording and describing the ways and processes of people creating music, and basically integrate sociology, economics, anthropology, folklore, musicology and other disciplines.
There are three main differences:
First, western music ethnography pays more attention to the role of audience in music events and the interaction with performers, but China pays little attention to this.
Second, most western scholars view and study other cultures in the context of their own culture, so as to see more background and content that can't be seen in their own culture. However, China scholars mostly study the traditional music culture of China or the traditional music culture of other countries or regions related to China's traditional music.
Third, China scholars pay more attention to the study of music ontology, so they pay more attention to details in the description of music forms. However, Seeger has actually mixed the experience of field trip with the statement of materials in his description, and the words are very readable.