Music Institutions and the Transmission of Tradition
Music Institutions and the Transmission of Tradition
复制标题
音乐机构与传统的传承
DOI：
10.2307/25653070
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发表时间：
2009
期刊：
影响因子：
0.7
通讯作者：
Judah M. Cohen
中科院分区：
文献类型：
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作者：
Judah M. Cohen
在这篇文章中，我重新思考了音乐机构在音乐传播实践中所扮演的角色。将制度化和音乐传统之间的动态视为一种历史现象和民族志现象，我认为制度本身可能充当隐藏的传统：谦逊的实体，容纳音乐保存和实践的灵活话语，并塑造对音乐真实性的看法，即使它们经常涉及不真实的话语。以犹太合唱训练作为案例研究，我注意到社区倾向于将音乐机构视为现代性和西化的代表，而非机构化的音乐传统往往作为更纯粹的场所而受到重视。就诗歌研究而言，西方化常常与传统犹太教的实践进行对比，即在西方人类进步的历史轨迹之外（例如，Bohlman 2000）。然而，我认为，音乐机构与其所传播的音乐传统之间的关系可能比当代机构本身的主张复杂得多——甚至涉及先前机构化的悄然消失的时期。正如我在这里通过指挥实例所展示的那样，对机构如何以及为何与音乐传统相关的运作有更具体的理解，可能会引导我们在传统与现代、个性与群体表达、艺术自主与社会监管等公共概念之间进行更细致的谈判。在 1999 年与领唱 Eliyahu Schleifer 博士的一次采访中，我对这个机构的作用产生了兴趣。施莱弗是我论文项目的重要导师和助理研究员，他指导了希伯来联合学院神圣音乐学院耶路撒冷分校的领唱项目。 “很多领唱会对即将入学的一年级学生说：‘尽你所能，将 Eli [Schleifer] 的知识转移到你的头脑中。’”一位领唱学生告诉我（采访，J. Rosenman，2000 年 2 月 14 日，纽约市）；
In this essay, I offer a reconsideration of the role music institutions play in the practice of musical transmission. Viewing the dynamic between insti tutionalization and musical tradition as both a historical and an ethnographic phenomenon, I consider the possibility that institutions may serve as hidden traditions themselves: self-effacing entities that house flexible discourses of musical preservation and practice, and shape perceptions of musical authen ticity even as they are often implicated in discourses of inauthenticity. Using Jewish cantorial training as a case study, I note the tendency of communities to perceive music institutions as representatives of modernity and Westerniza tion, while non-institutionalized musical traditions tend to receive emphasis as sites of greater purity. In the case of cantorial study, Westernization has often been contrasted with practices described as traditionally Jewish, that is, outside the Western historical trajectory of human progress (e.g.,Bohlman 2000). I argue, however, that the relationship music institutions hold with the musical traditions they propagate may be far more complicated than the claims of the contemporary institutions themselves?even involving quietly effaced periods of prior institutionalization. A more textured understanding of how and why institutions operate in relation to musical traditions, as I show here through cantorial examples, thus may point us toward a more nuanced nego tiation between communal notions of tradition and modernity, individuality and group expression, and artistic autonomy and societal regulation. I became interested in the role of the institution during an interview I conducted in 1999 with cantor Dr. Eliyahu Schleifer. A key mentor and research associate for my dissertation project, Schleifer directed the cantorial program at the Jerusalem branch of the Hebrew Union College School of Sacred Music. "A lot of cantors will say to the incoming first-year students: 'Do whatever you can to transfer Eli [Schleifer]'s knowledge into your head"' one cantorial student told me (interview, J. Rosenman 14 February 2000, New York City);