The author Yang Minkang is from the Academic Journal of Harbin Conservatory of Music
Abstract: In the past thirty years, the author's continuous exchanges with the musicological circles of ethnic minorities and cross-border ethnic groups in Northeast China have melted their own overall artistic outlook and world culture view from south to north, from inside to outside, from China to the surrounding areas to the world through the silent path of streams and rivers and seas and rain. And through the process of looking around from a distance to looking around and then to the actual exercise, he completed his experience and experience of getting involved in the research and teaching of music of ethnic minorities and cross-border ethnic groups in Northeast China. Combined with the experiences and experiences of participating in the Sino-Korean and Sino-Japanese Music Academic Seminars, the Chinese and Surrounding Cross-border Ethnic Music Academic Seminars, and the experience of guiding the study of doctoral and master's theses in music in Northeast and Northeast Asia, this paper discusses the current research status, current problems and prospects for future trends.
Keywords: Northeast Ethnic Minorities; Transboundary ethnic groups; Research status; There is a problem; Future trends
Medium figure classification number: J609.4
Document identification code: A
Article ID: 1002-767X(2022)01-0044-08
Author Profile
Yang Minkang, Doctor of Philosophy, Is a Distinguished Professor of Yunnan Academy of Arts/China Conservatory of Music, a researcher and doctoral supervisor of the Central Conservatory of Music.
The academic journal "Northern Music" of Harbin Conservatory of Music was republished in 2022, which is another important music academic journal that will come out in Northeast and Northeast Asia, and it is also an academic event in the music journal industry in recent years! At the end of May 2021, I was honored to receive a letter of invitation from the inaugural issue of the journal, and Deputy Editor Tian Kewen instructed me: "Please talk about your cross-border research issues, which can involve cross-border (music research) in Northeast Asia." In view of the fact that the author has been in continuous contact with the music research of ethnic minorities in Northeast China since I joined the company, and the research on the music of Ethnic Minorities and Cross-border Ethnic Groups in China that we have engaged in in recent years will also involve the scope of this field, so I have taken on this task, and this article will discuss the above issues.
At the time of writing, I pinched my fingers, exactly thirty years since I published my first academic monograph in Northeast China in the early 1990s, "Chinese Folk Songs and Local Society"[1]. Looking back at my continuous exchanges with the musicological circles of ethnic minorities and cross-border ethnic groups in Northeast China during this period, through the silent path of streams and rivers and seas, running rain, I have forged my overall artistic outlook and world culture view from south to north, from inside to outside, from China to the surrounding areas to the world. And through the process of looking around from a distance to looking around and then to the actual exercise, he completed his experience and experience of getting involved in the research and teaching of music of ethnic minorities and cross-border ethnic groups in Northeast China. At this time, we were meeting with the journal "Ethnic Art Studies" to compile the academic topic of "Mr. Tian Liantao and the Study of Chinese Ethnic Minority Music" by our collective. Therefore, these thirty years of "north-related" music research experience may also be able to catch this running train and include it in the scope of this micro-academic history topic for discussion.
I. Overlooking the Northern Territory - Starting from the publication of his debut novel "Chinese Folk Songs and Local Society" in Jilin Province
As a scholar from Yunnan, I have been mainly engaged in the study of music culture of ethnic minorities in the south and cross-border ethnic groups for many years, and my contacts with ethnic minorities in the north are mainly related to the construction of discipline methodology and related postgraduate teaching in the study of music of ethnic minorities and cross-border ethnic groups in China. From a chronological point of view, the two academic encounters in the 1990s made me begin to form an indissoluble relationship with the music of ethnic minorities in Northeast China and cross-border ethnic groups in Northeast Asia.
Our first academic encounter occurred in 1991, when I had just graduated from the Central Conservatory of Music as a graduate student and stayed on to work at the university. At this time, the Chinese literary and social science publishing circles, taking advantage of the residual temperature of the ideological emancipation movement in the early stage of reform and opening up, frequently made bright moves, attacked from all sides, and actively solicited academic topics rich in cultural heritage from young and middle-aged scholars in China. At this time, Yang Xiaolu, a good friend who was studying for a doctorate at the Art Research Institute and one of the editors-in-chief of the Chinese Art Library, found me and informed me that the project being planned by Jilin Education Publishing House was intended to create a multi-volume art and culture series that integrates social science knowledge and academic theories for young students who were rough in their hearts and eager for new knowledge by combining different traditional Chinese art categories (or genres) with corresponding social aspects (or phenomena). At that time, I had just finished fieldwork and dissertation writing, and when I first ventured into the academic hall and cultural forum, I couldn't help but be moved by it, so I preliminarily thought about the relationship between traditional Chinese music and cultural context by reading Mr. Fei Xiaotong's book "Native China" before, drafted the topic of "Chinese Folk Songs and Local Society", and received the approval of Mr. Liu Congxing, editor-in-chief and editor of the publishing house. After the publication of this book, it has received many encouragement from readers inside and outside the industry, and won the first prize of the Third Beijing Philosophy and Social Science Outstanding Achievement Award in 1994. This is arguably one of the most cherished academic honors I've had since I started. Not only because it was the first time in my life that I won the award, but also because the judging experts came from different majors in the humanities and social sciences of the capital Beijing, there were few and more common and suffocating literati and discrimination in the industry, and at that time, this was almost the only humanities and social sciences award in the domestic humanities and social sciences community. Many years later, many friends of folklore and folklore will mention this book when they see me. Professor Luo Qin, a famous scholar and president of the Shanghai Conservatory of Music Publishing House, also remembered this small book seventeen years after the first edition and generously reprinted it. So I would like to add a testimonial: thank you Tohoku! Thank you Jilin Education Press! It was your wisdom and generosity, tolerance and acceptance that made me boost my faith, sink into the sea and swim half my life and sink to this day!
The second opportunity was in August 1992, I was invited to Fushun, Liaoning Province, to participate in the Fifth Academic Seminar of the Chinese Ethnic Minority Music Society, read the paper "Brown Music History", after the meeting was arranged by the conference to go to Xinbin to investigate manchu music culture, and as soon as I got off the bus, I saw the Northeast Great Yangge performance welcome team full of streets. During xinbin's inspection, he was deeply impressed by Manchu shamanic music and Manchu song. Previously, in 1990, I had participated in the Fourth Academic Seminar of the Chinese Ethnic Minority Music Society held in Hohhot, Inner Mongolia, and in that year I came to Fushun City to participate in the next annual meeting, and the following year (December 1992), I accompanied Professor Tian Liantao to participate in the Second Yalong Cultural Festival of Tibet in Shannan, Tibet, coupled with the more frequent fieldwork activities in the ethnic minority areas of Yunnan during this period, a series of music culture inspection experiences from south to north, which made me have a new academic impulse. He produced his second academic work on traditional music, Chinese Folk Song and Dance Music.[2] In this new book, I am more confident than the first book to discuss the "holistic (cross-regional)-regional" style pattern of Chinese folk song and dance music (Introduction to Chapter 4); Be able to better grasp the relationship between the "common" dance (music) species and the "derivative" dance (music) species of the Northern Han Folk Song (Chapter 4); Be able to more accurately explain the stylistic characteristics of shamanic song and dance in the northern multi-ethnic song and dance system (Chapter 9); It is also possible to provide relatively complete pictures (revised editions) and scores of northern folk song and dance music performances. All these are inseparable from the experience of investigating the musical culture of the northern ethnic groups over the years.
Second, looking around the Yaya - The Sino-Japanese, Sino-Korean Buddhist Music Academic Seminar broadened my horizons
At the turn of the century, especially in the first decade of the new century, we began to get involved in the comparative study of the music of Cross-border ethnic groups in China and its surroundings. During this period, the discipline direction of traditional Chinese music (including ethnic minority music) at the Central Conservatory of Music and my own relationship with the music research of Northeast and Northeast Asia gradually became closer. Among the many related academic exchanges between the two universities, there are two things that can be particularly commended: one is that since 2003, the "China-Korea (Korea-China) Buddhist Music Academic Symposium", which was jointly initiated by the Buddhist Music Research Center of the Central Conservatory of Music and the Korean Musicological Circles, has been held every year for many years, and has been visited in turn since the fourth session in 2008, which was renamed the "Northeast Asian Buddhist Music Academic Symposium" (the fifth session was held at fo guang shan Temple in Kaohsiung, Taiwan), and was changed to "The Seventh Session in 2012" International Symposium on Buddhist Music in the Asia-Pacific Region", which has been held for nine academic conferences so far. The other is the comparative research project on cross-border ethnic music, including Northeast and Northeast Asia, which has been gradually carried out in the past decade or so, and now it has also produced many international and domestic academic exchanges and academic conferences.
From the perspective of geographical relations, Northeast China, South Korea and Japan belong to Northeast Asia and East Asia, and the two academic conference series of the International Symposium on the Comparison of Chinese-Japanese Music and the International Symposium on the Comparison of Buddhist Music between China and Korea (Korea-China) have been related to the music of ethnic minorities and cross-border ethnic groups in Northeast China to varying degrees. However, if we look at the timing of the initiation of the two types of conferences, the former was first produced, mainly initiated by scholars in Fujian, Shanghai and other places in China; The latter arose later and was mainly initiated by Scholars from Beijing and South Korea. Although both Korea and Japan belong to Northeast Asia, they are unique in their research objects and issues discussed, and the participants are different. Fortunately, as a scholar in Beijing, I not only participated in two series at the same time, but also participated in the "2000 International Symposium on the Eastern Transmission of Buddhism" initiated by Taiwanese scholars and participated by Japanese, Korean, Chinese mainland and Taiwanese scholars, and the papers of this conference also covered the research topic of Buddhist music of cross-border ethnic groups in Northeast Asia. After participating in the above-mentioned academic conferences and carrying out more frequent academic exchanges with Chinese and foreign scholars, it has been of great help to the music of ethnic minorities in the south and the north, the study of Buddhist music, and the establishment of an overall view of Chinese and foreign Buddhist music and even cross-border ethnic music.
(1) Through two international academic conferences in Taipei and Japan, it has established a relationship with Northeast Asian music
Before discussing the comparative study of Buddhist music in China, Korea (or Northeast Asia), it is necessary to mention two other important international academic conferences that have participated in the past. In 1999, I entered the University of Chinese in Hong Kong to pursue a doctorate, and I had already conducted relatively in-depth fieldwork on the southern Buddhist music of the Dai and Brown ethnic groups in Yunnan. His dissertation, completed in 2002, was based on the ritual music of the Southern Buddhist tradition of Xishuangbanna. In October 2000, at the recommendation of Professor Tian Qing, I was invited to participate in the "2000 International Symposium on the Eastern Transmission of Buddhism" held by the Fo Guang Shan Cultural and Educational Foundation in Taiwan and the University of South China in Taipei, where I read the paper "On the Musical Instruments and Instrumental Music of the Southern Buddhist Minorities of the Ethnic Minorities in Yunnan and Their Relationship with the Origin of Primitive Buddhist Music"[4], and also listened to the discussions on the relationship between Buddhist music and East Asian and Southeast Asian cultures published by Japanese and Korean scholars for the first time. In December of the following year (2001), I was invited to attend the 4th International Symposium on Comparative Studies of Chinese-Japanese Music held in Okinawa, Japan, and presented the paper "On the Localization of Music in the Late Period of the History of The Spread of Buddhism: A Comparison of Dai and Japanese Buddhist Music". In this article, I combined the Chinese and foreign research materials collected during my ph.D. studies at the University of Chinese in Hong Kong and the views and opinions expressed by Korean and Japanese scholars at the Buddhist Conference in Taiwan the previous year, and discussed the early Buddhist music and cultural exchanges between China and Japan and Korea and their similarities and differences with the history of the development of Southern Buddhism (music). In the latter type of sources, the Japanese scholar Kazuo Nakanishi's article "Musical Characteristics of Japanese Pure Land Rituals"[6] introduced the new Buddhist Buddhism and rituals of the Tang Dynasty brought back by the Japanese monk Kukai and Nai cheng who studied in the Tang Dynasty in the early 9th century AD, laying the ideological foundation for the "orthodoxy" of Japanese Buddhist culture. The ritual music content contained in it has become the source of the existing claims of various schools in Japan. Mosumi founded the Tendai Sect at Mount Hiei, and its ceremonial music and proclamations were passed down in the Buddhist traditions of Mt. Hiei and Kyoto Ohara. In Yuanren's book "The Journey of Entering the Tang Dynasty and Seeking the Dharma"[7], from the perspective of outsiders, he witnessed and recorded in detail the rituals of about eight Buddhist rituals used by Chinese Buddhism at that time, including the Death Day Ceremony of the Tendai Master at Yangzhou Kaiyuan Temple, the Ceremony of the Death Day of the Jingzong Kingdom, the Ceremony of the Forty-two Sages, the Silla Silla Sermon Ceremony of the Chishan Fahua Temple, the One-Day Lecture and Chanting Ceremony, the WutaiShan Bamboo Forest Temple's Fasting Ceremony and the Seventy-two Sages And Sacred Offering Ceremony. Since ancient Korea was a transit point for the introduction of Chinese Buddhism into Japan, the Japanese Buddhist community has always paid close attention to the development of Korean Buddhist culture. In the Book of Entering the Tang Dynasty, Yuanren mentions that there were about 40 Silla monks living in the Tang Dynasty in the Chishan Hokke-in Temple, which was located in Shandong at that time. All of its sermons and confessions, except for the confessions at dusk and at 2 o'clock in the morning, are carried out according to Silla customs and are mainly performed according to the Silla pronunciation. In terms of chanting methods, there are already categories such as receiving chanting plus chanting, one leading the crowd, and reciting with each other. In the pronunciation and melody used in the sutra cavity, all the Sanskrits that belong to the nature of the Song of Praise use Chinese melodies (Tang sounds), such as "Calling the Buddha's Name" and other Sanskrit that are sung in unison (popular homophony), and use the Silla-style melody to sing. According to this, at the 2000 Taiwan Buddhist Academic Symposium, some Korean scholars compared the situation of Chinese Buddhist music at that time and said, "For example, in China, although there is an Indian-style Sanskrit on one side, the Chinese-style Yushan Fanbai is newly composed on the other; In Korea, it is used in the Chinese style of Sanskrit, and on the one hand, it is newly made of Korean-style Sanskrit." [8] Based on a comparative analysis of the above historical materials and scholars' arguments, I went on to argue in my paper: "In terms of the interrelationship with local beliefs, there is a clear difference between the northern Buddhism of China, Japan, Korea and other countries and the southern Tradition, that is, the former has never been able to dominate the national stage for a long time like the latter in the midst of large and small repetitions and twists and turns. Taking the situation in China as an example, on the one hand, at the level of the 'great tradition', Buddhism can only compete with indigenous religions such as Taoism, and at the same time have a certain degree of mutual penetration and integration with the latter and Confucian culture; On the other hand, between the two levels of 'big and small traditions' (cultural or social), Buddhism is layered with various types of folk religions with Buddhist belief factors, thus forming a development pattern of 'pluralistic stratification and juxtaposition' between large traditions (Buddhism) and small traditions (folk beliefs). As for Southern Buddhism, from a general level, there is a relatively partial 'small tradition' in its 'local' (national, regional) religious belief and cultural category, while the southern Buddhism's own domain (across ethnic, regional, and national boundaries) covers another relatively holistic 'big tradition'. From the perspective of specific ritual forms, not only is the whole 'big tradition' and the local or local 'small tradition' extremely closely combined, but also the two are overlapping and integrated, and the primary and secondary are clear. [9] Through the above process of study and discussion, I initially touched on and intervened in research related to Buddhist music in Northeast Asia.
(2) The Sino-Korean Buddhist Music Academic Seminar established my overall pattern view and "macro + micro" academic thinking
With the fresh feelings of writing my doctoral dissertation at the turn of the century and exchanging with Chinese and foreign Buddhist music scholars at different academic seminars, I have participated in the first to fourth consecutive Sino-Korean (Korean-Chinese) Buddhist Music Academic Seminar since 2003, and then participated in the "Ninth Asia-Pacific Buddhist Music Academic Symposium" held by the Central Conservatory of Music in May 2016, and published a total of 5 academic papers: "Investigation Report on the Music of the Wa Southern Buddhist Festival Ceremony in Cangyuan County, Cangyuan County, Yunnan Province" (2003, Beijing)[10] "On the Region-Ethnic Musical Style and Cultural Characteristics of the Dai Script of Southern Buddhism" (2004, Korea, the Second Academic Conference), "A Glimpse of the Cross-Ethnic Dissemination of Buddha and Taoist Music Culture: An Analysis of the Factors of "Mu Lian Saving Mother" in the Music of Hainan Daogong Sacrifice" (2005, Xiamen)[11], "Analysis of the Content of Twelve Buddhist Songs and Dances in the Tang Dynasty "Guole" (2006, Korea)[12], "Research on the Traditional Band Performance in the Ceremony of the Ascended Monks of Southern Buddhism in Burma"[13]. It is precisely under the guidance of the theme of "Cross-border Religious Music Culture Research" of this type of conference that I bring these Buddhist music academic papers involving different ethnic groups, regions and eras, and containing "from the inside out", from the Chinese ethnic minorities to the cross-border ethnic groups, on behalf of the Chinese southern Buddhist music research community to participate in the academic discussion of the music culture of the three major Buddhist schools in China and the surrounding areas. First, through the juxtaposition and comparative study of the music culture of the three major Buddhist schools in China, South Korea, Japan and other countries, we have established the concept of music culture and identity based on the "pattern of pluralism and integration of the Chinese nation", as well as the research thinking of grasping the comparative research topics of music culture between China and neighboring countries and regions; Second, through transnational conferences and related fieldwork processes, we have really come into contact with the music and culture of South Korea, Japan and other countries, so that we have confidence in related research and teaching work in the future, so that we can further carry out the study of cross-border ethnic music in the south and the north.
Taking my own situation as an example, in the course of more than 20 years of comparative academic research on cross-border ethnic music, the topic of southern Buddhist ritual music between Yunnan and surrounding cross-border ethnic groups has taken more time and greater energy, and has accounted for a large proportion of such topics. Although this is a very important individualized and local case research topic, from the perspective of the formation process of its academic concepts and methodologies, it has gradually grown up in an international academic atmosphere in which research topics such as Sino-Korean, Sino-Japanese Buddhist music comparisons have been alternately and cyclically unfolded, and have been influenced and cultivated by the latter. In particular, the series of Academic Seminars on Buddhist Music, which have been renamed "China-Korea" (Korea-China), "Northeast Asia" and "Asia-Pacific", have been gradually expanded and upgraded from the relatively simple comparative study of Chinese and Korean music to a grand "Han dynasty" between China and the surrounding "Han dynasty" under the leadership of chinese scholars such as Kwon Wusheng and Lee Fuheng and the participation of many Chinese and Korean music scholars. Tibetan and Southern traditions are a comprehensive investigation and comparative research topic of the three major Buddhist music systems. As far as I am concerned, through my full participation in this research topic, I have produced and formed my own academic thinking and research methods based on the southern Buddhist music culture circle and the "primary, secondary and regenerative" cultural layers in Yunnan and its surroundings; Then, it has established an overall pattern view and "macro + micro" academic research thinking, including the Buddhist (musical) cultural circles in China and the surrounding areas, the intertwining of chinese and Sanskrit scripts and belief culture circles in various Asian departments, and the "pluralistic and integrated hierarchical pattern" of Chinese ethnic minority music.
Combined with the publication of papers from previous Sino-Korean (Korea-China) Buddhist Music Seminars, we can see that there are still some practical problems that need to be further strengthened and expanded: First, most papers deal with and discuss the respective characteristics of Chinese and Korean Buddhist music, and some papers make horizontal comparisons of Buddhist music between the two countries, but on the Chinese side, it is limited to the ancient history of Buddhism and the introduction of Buddhist music from Shandong and southeast coasts to Korea by sea [14]; Second, in addition to the individual papers read at the academic conference, such as Professor Yang Jiusheng's "Thousand Mountains Buddhist Sutra Rhymes - On the Relationship between Northern Classics and Folk Music" published at the 7th Asia-Pacific Academic Symposium and the "8th Asia-Pacific Buddhist Music Symposium" held in South Korea, which was attended by the Liaoning Qianshan Longquan Temple Orchestra and scholars accompanying the group, there were few Buddhist music scholars from northeast China participating in other conferences, and rarely involved Buddhist music in contemporary northeast China in the participating papers; Third, later, Korean scholars extended the tentacles of comparative research to other provinces adjacent to Korean Buddhist music and northeast China, such as Mongolian Buddhist music in East Asia but outside Northeast Asia and Tibetan Buddhist music in neighboring South Asia.[15] However, there are still few cross-regional comparative studies of Buddhist music and other contemporary music in Northeast and Korea among Chinese and Korean scholars. From this point of view, the comparative research project on the music of China, Korea, China and Japan in this period is still less involved in the comparison of the music culture of cross-border ethnic groups in Northeast China and Northeast Asia. This at least shows that although the two are geographically similar, their Buddhist music has a symbiotic cultural relationship in early history, but it has different lineages and transmission paths in later generations, so that the topic of comparative study of its presentness was not taken seriously by the academic community at that time.
3. Moving closer to the outside world: Personally participating in the research and teaching of cross-border ethnic groups in Northeast and Northeast Asia
In the past 20 years, through more international and domestic academic exchanges and scholars' own academic efforts, the research on cross-border ethnic groups in northern, southern and surrounding China has made great progress, and the research topics and achievements have been increasing. For ourselves, through the relevant papers published by Chinese and foreign scholars at the previous International Symposiums on Chinese-Korean and Sino-Japanese Music, we have a certain degree of understanding of the research status of Buddhist music culture in Northeast China and Korea, which belong to Northeast Asia, and through many field trips to Northeast And Korean Buddhist culture, we have accumulated the necessary experience for participating in and guiding master's and doctoral students to carry out cross-border ethnic music research in Northeast and Northeast Asia.
(1) The inevitability and feasibility of participating in the research and teaching of cross-border ethnic groups in Northeast and Northeast Asia
As a Chinese ethnomusicologist, my main research area is the music of ethnic minorities in the south and cross-border ethnic groups in Southeast Asia; However, as a teacher at the Central Conservatory of Music, my teaching work and the research of my master's and doctoral students' dissertation projects will inevitably extend to the musical culture of the cross-border ethnic groups of the northern ethnic groups and the surrounding Northeast Asia and Central Asia. As mentioned above, in the process of participating in the international academic exchange activities with the main purpose of the comparative study of Chinese and Korean (Korea-China) and Sino-Japanese Buddhist music for more than ten years, and presiding over many academic seminars on chinese cross-border ethnic music, through "looking away" and "looking around", I have gradually established my own overall academic pattern, including the connection of the music of ethnic minorities and cross-border ethnic groups in the north and south, as well as the interweaving and chimera of the (music) cultural circle and cultural layer, and forged my own "pluralistic integration and layering" of traditional Chinese music. Culture and identity perceptions. In the past ten years, through the study and exchange activities with colleagues in the northern academic circles, I have achieved the realistic purpose of "close-up" the music of the ethnic minorities in the north and the cross-border ethnic groups in Northeast Asia. After reviewing and evaluating the current status of his research, he gradually applied it to his teaching and research work in the past ten years facing graduate students in different ethnic minority areas in the north and south. As far as I am concerned, the earlier academic exchange activities of northern colleges and universities were in October 2004, when I was invited by the Graduate School of Shenyang Conservatory of Music and Professors Yang Jiusheng and Lin Lin to conduct a three-day lecture and academic exchange activity at the university. During this period, I happily shared with the teachers and students of the institute the experience and experience of participating in the Sino-Japanese, Sino-Korean Buddhist Music Academic Seminar in recent years. Since then, the author has gone to Shenyang Conservatory of Music, Harbin Normal University, Heilongjiang University, Harbin Conservatory of Music, Mudanjiang Normal College, Jilin Art College and many music and art colleges in Inner Mongolia Autonomous Region to participate in academic conferences on ethnomusicology, participate in doctoral and master's degree defenses and other academic exchange activities, and actively interact and discuss with peers and teachers and students in the northern region on ethnic minority music and cross-border ethnic music.
(2) Analysis of the academic direction of the comparative topic of cross-border ethnic music in Northeast China and Northeast Asia
In order to carry out research on the music of ethnic minorities and cross-border ethnic groups in Northeast and Northeast Asia, it is inseparable from the overall grasp of the overall academic thinking and conceptual pattern of the humanities and social sciences represented by ethnology and ethnomusicology in China. If we sort out the relevant academic dynamics and development trends in this regard, we can see that as early as the 1980s, Mr. Fei Xiaotong put forward the academic concept of "historically formed ethnic regions" in his macroscopic thinking of "inheriting the past and opening up the future", which contains two basic types: One is the "plate" type, such as "northern grassland", "northeast alpine forest area", "Qinghai-Tibet Plateau", "Yunnan-Guizhou Plateau", etc.; The other is the "corridor" type, such as the "Tibetan Yi Corridor", the "Nanling Corridor", and the "Northwest Corridor". If we compare the roles of the two, it can be seen that the former, as a "national (music) cultural plate", has formed the scale and situation of regional cultural research. The latter, as an important function of the "historical music and cultural corridor", is to connect different regional ethnic cultural plates, so that they can be connected into a complete "pattern of pluralism and integration of the Chinese nation" that combines the "exchanges, exchanges and integration" between the Han and ethnic minority cultures. Around the same time, Western anthropologists and music anthropologists also put forward new research concepts and ideas such as multi-point (musical) ethnography, cooperative ethnography, and the social and cultural vertical structure of "main culture, subculture, and cross-culture" on the basis of fixed case studies of ethnography. [17] As discussed above, in our traditional Chinese music research methodology, there is currently a certain overall concept of interweaving and chimera of cultural circles and cultural layers. The cultural layer has the structural characteristics of "primary, secondary and regenerative". In the process of research and practice, we have established a good cooperative and "conspiracy" relationship with scholars from other disciplines, as well as the government and research objects, and established a new academic framework of "main and subcultural layer" such as "inheritance, construction and innovation" and "'intangible cultural heritage' music, festival music and creative music". From this point of view, in the study of Chinese ethnic minorities and cross-border ethnic groups music in recent years, a cross-century transformation phenomenon with the meaning of "joint horizontal and vertical" and towards "pluralistic and hierarchical integration pattern" has also been formed.
(3) Northeast and Northeast Asian music research topics at the Academic Symposium on Music Culture of Cross-border Ethnic Groups in China and Its Neighbors
On September 16-18, 2011, the author took the opportunity to host the "Chinese Ethnic Minority Music Research Forum - Chinese Cross-border Ethnic Group Music Culture" hosted by the Central Conservatory of Music in Beijing, gathered with experts from all over the world, including scholars from Northeast China, and made a keynote speech on "Cross-border Ethnic Groups and Cross-border Music Culture- The Significance and Scope of Cross-border Ethnic Music Research in China and Chinese". On September 24-26, 2011, the author went to the Conservatory of Music of Harbin Normal University and participated in the "Exchange, Cooperation and Development- Academic Seminar on Cross-border Ethnic Music And Cultural Exchange in Northeast Asia" sponsored by the Institute, and read the paper "Two Topics of Dissemination and Integration of Cross-border Ethnic Music Culture in Yunnan and Myanmar". On December 26-28, 2019, the author was invited to participate in the "Northeast Asian Cross-border Ethnic Music Academic Seminar" held by Mudanjiang Normal University eight years later.
Group photo of the International Symposium on Cross-border Ethnic Music and Cultural Exchange in Northeast Asia (December 27, 2019)
In 2011, the "Chinese Ethnic Minority Music Research Forum - Chinese Cross-border Ethnic Groups Music Culture" divided all topics into several basic academic plates such as Southwest China and Southeast Asia, China's Tibetan, Uighur, Han and South Asia, Central Asia, East Asia and Northeast China, Inner Mongolia and Northeast Asia according to the research objects of the participating papers: Liu Guiteng's "Tunguska Shaman Drum in the Heilongjiang/Amur River Basin" - Research on the Shamanic Music of Cross-border Ethnic Groups from the Perspective of "River Basin", Zhang Yishan's "Research on the Characteristics of korean Nationality Length", Ning Ying's "Pansori" Performance in the Context of Cross-border Ethnic Groups: A Diachronic Comparative Study of Traditional Rap Music Performance in Yanbian, China and South Korea" and Li Ran's "Interpretation of the Modern Changes in the Sound of Shamanic Rituals of Chinese and Russian Cross-Border Ethnic Groups (Hezhe-Nana)". In addition, the association also set up a special section of "Review and Analysis of Research Status", which included Li Ran's "Review of the Music Research of Chinese and Russian Cross-border Ethnic Groups (Hezhe-Nanai)" and Ning Ying's "Outline of the "Cross-border" Research of Korean Traditional Music" and two masterpieces related to the music of cross-border ethnic groups in Northeast Asia. Only from the analysis of the content of these papers, we can capture several development trends in the past decade since then: First, Liu Guiteng's article adopts the perspective of connecting plates with "river basins", and Zhang Yishan and Ning Ying's two papers are aimed at Chinese and Korean music, with the idea of horizontal comparative study of cross-border ethnic music in Northeast Asia; Second, from the perspective of the research objects covered in several articles, such as shamanism, shamanic drums, Korean patriarchal shorts, "Pansori" performances, and Northeast Asian Buddhist music, it already includes the vertical social music and cultural performance levels of "primary, secondary, and regeneration". In other words, the phenomenon of cross-century transformation that we are looking forward to with the meaning of "linking horizontal and vertical" and moving towards a "multi-layered and integrated pattern" has been clearly reflected in the topic of the Northeast Asian music research section of the conference. At the comparative topic of cross-border Mongolian music at the conference and several other cross-border ethnic music academic seminars in Heilongjiang Province, such academic topics and research directions have also been included.
4. Relevant research topics of graduate students in the field of ethnic minority music at the Central Conservatory of Music
Through a series of relevant academic conferences that we have participated in and participated in since the new century, we have successively involved various research directions in the music of cross-border ethnic groups in Northeast and Northeast Asia, of which it is particularly noteworthy that in the traditional research field with the folk music and shamanic music and musical instruments of the Manchu and other ethnic minorities in Northeast China as the main objects, cross-border (border) comparative research topics with shamanic instruments and traditional music of China and Russia as the main objects have been developed. However, on the other hand, in the past research topics on the music of local ethnic minorities in the academic circles, more attention has been paid to case studies and cross-provincial comparative studies with the analysis of ethnicity and musical characteristics as the main object. In the overall music culture system that includes the "primary, secondary, and regenerative" social music culture performance level, this kind of research mainly involves the relatively "native" level. In contrast, in the past, the academic community has been less involved in the other two aspects of traditional ritual music (such as Buddhist, Taoist, christian ritual music), tourism music and festival ceremonial music with the cultural characteristics of "secondary birth and regeneration". From the perspective of comparative research on cross-border ethnic music, the academic achievements in recent years are mainly focused on the cross-border dissemination of traditional shamanic instruments and the comparative analysis of the characteristics of the original music culture style of the two places; There is little attention paid to the variation and change of music culture and ethnic groups and cultural identity that occur in the "secondary and regenerative cultural layer" due to the influence of cultural connotation and integration between different ethnic groups and the influence of political, religious and social conditions of different countries. In this regard, when we instruct graduate students to conduct research topics related to the music of ethnic minorities in the north and cross-border ethnic groups in Northeast Asia, we have consciously strengthened the awareness and research efforts in this regard.
In the past 20 years, I have supervised 6 dissertations, 1 master's thesis and 1 postdoctoral outbound report on the music topics of the northeast and inner Mongolia in the northeast and Inner Mongolia at the Central Conservatory of Music. Taking two doctoral dissertations involving ethnic minorities and cross-border ethnic groups music in Northeast China as an example, one is Ning Ying's "Research on the Traceability and Change of Yanbian Korean "Pansori" in the Context of China-Korea Cross-Border Context" (2014), which can be classified as follows: First, the author will insist on the investigation and research of Yanbian Korean Pansori for several years and the comparative study of cross-border ethnic music in Pansoli, China and South Korea, reflecting the combination of fixed-point cases to multiple points (clues), Comparative trajectories of musical ethnographic approaches. Second, through the comprehensive traceability of the common historical memory of the Chinese and Korean "Pansori" from ancient times to the present, the article traces the general trajectory of its emergence, development, prosperity, decline and rejuvenation, introduces historical ethnomusicology into the comparative study of cross-border ethnic groups between China and South Korea, and conceals another development trajectory from synchronicity to diachronic research. Third, based on the research concept of "studying music in culture" in ethnomusicology, while deeply discussing and interpreting the elements of ethnic and personal identity construction in the performance process of Pansori, through the careful study of Korean Pansori music, the morphological mechanism characteristics of this type of music are understood and clarified, laying an artistic and material foundation related to the object object and as the object of object description for the above cultural interpretation of the subject and the consciousness of the subject. As can be seen from Ning Ying's article, it contains three basic cultural evolution levels: the original musical culture of the Chinese and Korean korean nationalities (the original layer), the musical culture of the East Asian Chinese characters and Buddhist cultural circles (secondary layer) and the contemporary dissemination and change of traditional music culture (regeneration layer), which concentrates on the author's more prominent problem awareness and research ability on this research topic.
The other is Zhang Lin's "Constructed Traditions: Xinbin's "Manchu Traditional Ritual Music" and Cultural Identity" (2017), which can also list three basic characteristics: First, Zhang Linwen has an academic perspective that stands in a novel and cutting-edge disciplinary position, closely combined with the reality and practice of music. One of the challenges the author faced at the beginning of his writing was how to deal with and treat the relationship between the "authenticity" and "symbolism" of Manchu music, especially shamanic musical culture, and whether to substitute different research concepts from modernity to postmodernity in his own research. To this end, he chose to "join the perspective of postmodernism, borrow theories and methods related to cultural anthropology, semiotics, historical ethnomusicology, and ritual music ethnography, analyze related objects from the perspective of cultural identity, and make up for the lack of research in the field of Manchu music to a certain extent." He uses keywords such as "cultural construction", "reconstruction" and "cultural identity" in the text, which drives the academic theme and research ideas of the whole text, thus to a certain extent stepping out of the academic research scoop that was more accustomed to discussing only under the maintenance of concepts such as "intangible cultural heritage", "inheritance" and "development" and "innovation". Second, as a case study topic of musical ethnography, Zhang Wen has completed and embodied the exploration and sublimation process from the field practice of musical ethnography to the theory of music anthropology through multi-level grasp from micro, meso-to-macro, from partial to whole. Based on microscopic case studies, Zhang Wen has done a "exhaustive" job of microscopic research objects through field investigations of existing Xinbin Manchu traditional ceremonies such as folk funeral ceremonies, shamanic ceremonies, the custom of "picking up ghosts" in the first month of twisting and turning rice songs, the traditional Manchu wedding customs, the ancestral worship ceremony in the qing emperor's hometown, and the Qing Yongling sacrifice ceremony. At the same time, Zhang Wen also intends to go beyond the regional cultural scope of Xinbin, from the regional and "national" mesoscopic cultural level of "Manchu culture research", which also has the meaning of "construction", "to analyze the connotation of today's Manchu and Manchu music, and point out that it has distinct constructive characteristics.". The author "uses the research method of cultural layer to divide and analyze the music of the Xinbin Manchu people, and find out the way of communication between music and identity", and sets up specific and orderly analysis steps such as text construction of musical ethnography, analysis of structure and musical style, analysis of musical identity, identity difference order analysis and interpretation of "heroic ancestor historical mentality". In addition, Zhang Wen still discussed the "two different levels of meaning of symbols" from the perspective of macroscopic music culture and semiotics: "the new Bin Manchu music culture system as an increased meaning system" and "the new Bin Manchu music culture system as an enlarged meta-language system", and at the same time discussed "how does music embody identity", "traditional or pseudo-traditional?". The historical perspective of the constructed tradition" and the "phenomenon of cultural construction" were deeply considered and discussed. Third, the work done by Zhang Lin is of pioneering significance and value to the ethnographic research on ritual music performance that we are currently doing, and provides useful reference experience for several subsequent doctoral dissertations that adopt similar research methods. Among them, Zhang Lin's two papers published in the "Music and Identity" column (No. 2, 2017) and the "Construction and Identity" column (No. 1 and No. 2, 2020) published in the Journal of the Central Conservatory of Music have made direct contributions to the construction of methodologies in this category.
Speaking of these students' dissertations, I can't help but recall a little gratitude for the various academic trials I have endured in this field over the past 30 years! Judging from the results of guiding the writing of these papers, the research experience I accumulated in the process of those difficult thinking and exploration, entanglement and running-in has played an important role. For example, through various academic exchange activities, the overall view and methodological thinking of culture at the macro and meso levels have given me the confidence to grasp ning Ying's cross-border ethnic music research and Zhang Lin's comparative integration of Manchu and Han cultures. My many fieldwork experiences in Northeast China and Korea, from the earliest expedition to the New Bin Manchu song and dance music, to my later participation in korean traditional ceremonial activities, came in handy when I discussed research strategies and thesis layout with Zhang Lin and Ning Ying. A similar example is li Bodan's master's thesis, "A Comparative Study of the Regionality of Korean Christian Ritual Music in China: A Comparison of Sunday Ceremonies in Harbin, Hegang, and Huachun Villages" (2009), which incorporated his own experience of visiting ethnic minorities in Yunnan and Korean Christian music over the years. And I have studied many experiences of music culture in Inner Mongolia, Xinjiang and other ethnic minority areas with Hongmei, Miao Jinhai and other doctoral students, and I am also supervising relevant doctoral dissertations, such as Hongmei's "Research on Contemporary Mongolian Ao Bao Sacrifice Music- Taking the Ao Bao Sacrifice Ceremony of Hulunbuir as an Example" (2011), Wei Linlin's "Folk Music Urbanization in the Context of "Going West" - Taking the Formation, Development and Dissemination of inner Mongolia Duorentai as an Example" (2013), Li Hongmei's "Investigation and Research on the Music of Genghis Khan Sacrifice Ceremony" (2014), Miao Jinhai's "The Construction and Identity of the Evenk Musical Culture under the Ao Bao Sacrifice Field" (2019), and Hasbahtel's postdoctoral outbound report "Weyrat Mongol Humai, Maoton Chaoer and Their Music Research" (2018) have played a certain role in the process. In addition, over the years, he has also participated in the review and defense of doctoral and master's theses of many music and art colleges in Northeast China and Inner Mongolia, and also relies on the above fieldwork and research experience. These subsequent research and teaching work are similar to the goals and significance of the northeast ethnic minority and cross-border ethnic music research discussed in this article, but they are limited to the length of this article and are intended to be reserved for future opportunities to continue to discuss.
Fund Project: National Social Science Foundation of China General Project of Art "Theoretical Construction, Site Selection and Comparative Research on Musical Ethnography of Cross-border Ethnic Groups in Southern China" (Project No.: 20BD068) Phased Results.
(Editor-in-Charge: Ran Li)
The original article was published in northern music, No. 1, 2022 (the first issue of the revised edition), please quote the original article.
Notes:
[1] Yang Minkang: Chinese Folk Songs and Local Society, Changchun: Jilin Education Press, 1991 edition, won the first prize of the Third Beijing Philosophy and Social Science Outstanding Achievement Award in 1994, and republished by Shanghai Conservatory of Music Press in 2008.
[2] Yang Minkang: Chinese Folk Song and Dance Music, Beijing: People's Music Publishing House, first edition in 1996, revised edition in 2019.
[3] Yang Minkang, "Bayeux Praise: A Study of the Music of The Rituals of Southern Dai Buddhism", Beijing: Religious Culture Publishing House, 2003.
[4] Yang Minkang, "On the Musical Instruments and Instrumental Music of The Southern Buddhist Traditions of ethnic minorities in Yunnan and their Relationship with the Origins of Primitive Buddhist Music", Proceedings of Buddhist Studies in 2000 (Buddhist Music 2), Editor-in-Chief of fo guang shan cultural and educational foundation, Taipei: Fo Guang Cultural Undertaking Co., Ltd., 2001 edition, pp. 371-402.
[5] Yang Minkang, "On the Localization of Music in the Late Period of the History of The Spread of Buddhism: A Comparison of Dai and Japanese Buddhist Music", Pumen Journal, No. 17, 2003.
[6] Kazuo Nakanishi, "Musical Characteristics of Pure Land Rituals in Japan", Proceedings of Buddhist Studies 2000, Buddhist Music 2, Taipei: Fo Guang Cultural Undertaking Co., Ltd., 2011 Edition, pp. 43-196.
[7] Master Yuanren: "The Journey to the Tang Dynasty", New Taipei: Foguang Cultural Undertaking Co., Ltd., 1998 edition.
[8] Hong Run-sik, "Buddhist Rituals and Buddhist Music in Korea", in Proceedings of Buddhist Studies 2000, Buddhist Music 2, New Taipei: Fo Guang Cultural Undertaking Co., Ltd., 2011 edition, pp. 225-236.
[9] Yang Minkang, "On the Localization of Music in the Late Period of the Spread of Buddhism: A Comparison of Dai and Japanese Buddhist Music", Taipei: Pumen Journal, No. 17, 2003.
[10] Yang Minkang, "A Glimpse of the Cross-Ethnic Spread of Buddhist and Taoist Music Culture: An Analysis of the Factors of Saving Mothers in the Music of The Taoist Sacrifice in Hainan Province", in Proceedings of the First Sino-Korean Buddhist Music Academic Symposium, edited by Yuan Jingfang, Beijing: Religious Culture Publishing House, 2004.
[11] Yang Minkang, "A Glimpse of the Cross-Ethnic Spread of Buddhist and Taoist Music Culture: An Analysis of the Factors of "Mu Lian Saving Mother" in the Music of The Taoist Sacrifice in Hainan Province," in Proceedings of the Third International Symposium on Chinese-Korean Buddhist Music, edited by Yuan Jingfang, Beijing: Religious Culture Publishing House, 2006
[12] Yang Minkang, "Analysis of Twelve Buddhist Songs and Dances in the Tang Dynasty's "Qiu Guole"," Taiwan: Pumen Journal, No. 43, 2008.
[13] See Yang Minkang, "The Band Walking the Streets of burmese monks at the Shaving Ceremony and Its Musical History Traceability", Ethnic Art Studies, No. 6, 2016.
[14] See [Han] Park Fan-hwan, "Fan Bai Dong Gradually and Its Koreanization", in Proceedings of the First Sino-Korean Buddhist Music Academic Symposium, edited by Yuan Jingfang, Beijing: Religious Culture Publishing House, 2004, pp. 114-123. [Han] Kwon Wusheng, Translated by Shin Yu-fan: "The Current Situation and Topics of Korean Buddhist Music Research", in Proceedings of the Third Sino-Korean Buddhist Music Academic Symposium, edited by Yuan Jingfang, Beijing: Religious Culture Publishing House, 2006 edition, pp. 33-39.
[15] [Han] Quan Renping, A Comparative Study of Buddhist Music in Korea and Tibet, in Proceedings of the First Sino-Korean Buddhist Music Symposium, edited by Yuan Jingfang, Beijing: Religious Culture Press, 2004 edition, pp. 124-141.
[16] Shi Shuo, "The Tibetan-Yi Corridor: A Valuable Ethnic Region: On the Concept and Region of the "Tibetan-Yi Corridor" proposed by Mr. Fei Xiaotong," in Proceedings of the Symposium on the History and Culture of the Tibetan-Yi Corridor, Sichuan University (reprinted from CNKI), 2003.
[17] Timothy Rice：“Time， Place， and Metaphor in Musical Experience and Ethnography ”，Ethnomusicology， 2003，47(2)，pp.151-179.