摘要
长期以来,在西方音乐体系里较多习用宏观分类法和微观分类法这一对乐器分类观念和方法。但是根据对中国和其他非西方文化中的乐器分类法的考察,可说其中并未局限于从上述二元对立关系来谈乐器分类。受此启发,似可兼从其他的两分法诸如“物质的和文化的”、“局内的(insiders)和局外的”(outsid-ers)、“主位的(emic)和客位的(etic)”、“人工的和自然的”、“形式化的和非形式化的”、“比较的和描述的”等交叉分类思维侧面,对上述“宏观-微观”分类体系予以补充。但是在这种交叉的分类思维系统中,宏观分类法和微观分类法乃位于核心,是一对最重要的分类概念和方法。
The music instrument classification generally used the conception and method of macroscopic and submicroscopic in the West music system for long time. For reviewing the Chinese classification as well as the other non-West culture way, it was not adopted the West system. The writer proposed that those duality idea of substance with culture, insiders with outsiders, emic with elic, artificial with natural, formalization with non-formalization, comparing with describing,were complementarily to the classification system of macroscopic and submicroscopic.The writer emphasized that the macroscopic classification and submicroscopic one had still been the main part in that classification system, both of them were the most important method as well as the classification opinions.
出处
《黄钟（武汉音乐学院学报）》
CSSCI
北大核心
2006年第3期96-104,共9页
Huangzhong:Journal of Wuhan Conservatory of Music
基金
中央音乐学院"211工程""十五"规划教材建设项目"音乐民族志研究方法导论"(批准号:04Jco23)。
关键词
西方音乐
非西方音乐
中国音乐
乐器分类法
宏观-微观
局内-局外
主位-客位
人工-自然
比较-描述
the West music, non-West music, Chinese music, music instrument classification,macroscopic-submicroscopic, insiders-outsiders, emic-elic, artifiCial-natural, comparing-describing
