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云南是我国少数民族音乐文化的一个宝库。其音乐资源多样化且个性鲜明,但过强的个性也增大了特定音乐文化遗产广泛传播的难度。另外,相关保护与传承工作所需资金的整体匮乏与传承人的断档,也阻碍了这些音乐资源作为文化符号在大众传媒中实现良性循环的途径。要改善这种局面,除加大资助力度、完善传习制度、推动音乐传承与校园音乐教育的结合之外,还可以在创作和改编上积极探索云南少数民族音乐与现代音乐创新潮流融合的可行性,用联系的、发展的眼光将这些原生态的音乐逐步与审美主体相连接,顺应音乐艺术的变化趋势,辩证地处理民间音乐和当代音乐在发展中的关系,在传承中保护,在保护中传承。
Yunnan is a treasure house of the minority music culture in our country. Its music resources are diverse and distinctive, but too strong individuality also increases the difficulty of widespread dissemination of specific musical cultural heritage. In addition, the overall lack of funds needed for related protection and heritage work and the stalling of successors also discouraged these musical resources as a means of achieving a virtuous circle of cultural symbols in the mass media. To improve this situation, in addition to increasing subsidies, improving the transfer system, and promoting the combination of musical heritage and campus music education, we can also actively explore the feasibility of integrating the ethnic minorities and the modern music in Yunnan in terms of creation and adaptation , With the connection, the development of vision of these original ecological music and the aesthetic gradually connected with the body, in line with the changing trend of music, the dialectical treatment of folk music and contemporary music in the development of the relationship between the protection of heritage, in the protection inherited.