结论

自1982年以来，《民族音乐学》刊载了题目中含有“认同”一词的文章共17篇，它们显然只是民族音乐学关于音乐在创作、建构、表达、协调和反映社会认同等行动中的角色的研究的冰山一角。其中16篇民族志文章 ^[70] ，每一篇均在认同形成的进程话题上提供了一个有意思的窗口，这些过程来自世界上不同地区的特定个案：非洲（4）、拉丁美洲（4）、欧洲（3）、北美（2）、东亚（1）、南亚（1）、东南亚（1）；太平洋和中东的研究有所缺失。这些文章几乎综观认同的所有种类：种族（5）、国家（4）、区域（3）、阶层（2）、宗教（3）、社群（2）、部落（2）、种姓（1）、混合性认同（1）和个人（1），冲突视角下的多重认同也已得到关注。

现有文献所缺少的，是编著连贯的、相互关联的、整体性的作品的渴望，该作品应与更广泛的与认同相关的文献联系，提出潜在的、引人入胜的跨文化理论，同时提出音乐在创造个人认同或社会认同时的普遍趋势。我认为，缺乏条理和一致性、几乎没有引述借鉴既有成果，这是我们关于这一主题的研究目前为止表现出的结构性缺陷。如果我们这些民族音乐学家研究其他主题时也采取同样的模式，那么我很担心，这种结构性的缺陷会根植于我们的学科中，这种缺陷会降低我们通常所说的研究效率，并且限制民族音乐学为音乐学知识和理论添砖加瓦的潜能，至少在美国的现有制度下会是这样。

[1] Timothy Rice,“Reflections on Music and Identity in Ethnomusicology”, Muzikologija/Musicology , Vol. 7(2007), pp. 17–37.

[2] 本译文已发表于《音乐探索》2014年第1期，第49—58页。全文收入本书时做了适当修改。

[3] 在沃特曼（Waterman）的文章发表十年前曾有另一篇简短的文章，见Gilles Potvin,“The Canadian Broadcasting Corporation and Canadian Folk Cultures: The Preservation of Ethnic Identity”, Ethnomusicology , Vol. 16 (1972), pp. 512–515。

[4] 布鲁诺·内特尔（Bruno Nettl）的著作中有对于我们学科这一特性的形容，见Bruno Nettl, The Study of Ethnomusicology: Twenty-nine Issues and Concepts , Urbana: University of Illinois Press, 1983。

[5] Alan P. Merriam, The Anthropology of Music , Evanston, IL: Northwestern University Press, 1964.（译注：中译本请参考［美］阿兰·帕·梅里亚姆：《音乐人类学》，穆谦译，人民音乐出版社2010版。）

[6] Nettl, The Study of Ethnomusicology ; Helen Myers (ed.), Ethnomusicology: An Introduction , New York: W.W. Norton, 1992.

[7] Timothy Rice,“SEM Soundbyte: What Are We Thinking?” SEM Newsletter , Vol. 39, No. 4 (2005), p.1.

[8] 《民族音乐学》（ Ethnomusicology ）、《传统音乐年鉴》（ Yearbook for Traditional Music ）、《民族音乐学论坛》（ Ethnomusicology Forum ）。

[9] Christopher A. Waterman,“‘I’m a Leader, Not a Boss’: Social Identity and Popular Music in Ibadan, Nigeria”, Ethnomusicology , Vol. 26 (1982), pp. 59–71.

[10] R. Anderson Sutton, Traditions of Gamelan Music in Java: Musical Pluralism and Regional Identity , Cambridge: Cambridge University Press, 1991.

[11] Manuel H. Peña, The Texas-Mexican Conjunto: History of a Working-Class Music , Austin: University of Texas Press, 1985.

[12] 有关这一理解的两种经典表述，见Arjun Appadurai, Modernity at Large: Cultural Dimensions of Globalization , Minneapolis, MN: University of Minnesota Press, 1996；James Clifford, Routes: Travel and Translation in the Late Twentieth Century , Cambridge, MA: Harvard University Press, 1997；以及Timothy Rice,“Time, Place, and Metaphor in Musical Experience and Ethnography”, Ethnomusicology , Vol. 47(2003), pp.151–179中这一理解在民族音乐学中的应用。

[13] Erik Erikson, Identity and the Life Cycle , New York: International Universities Press, 1959.

[14] Lawrence Grossberg,“Identity and Cultural Studies – Is That All There Is?”in Questions of Cultural Identity , Stuart Hall and Paul du Gay (eds.), London: Sage Publications, 1996, pp. 87–107.

[15] J.E. Marcia,“Erikson, Erik Homburger (1902–94),”in International Encyclopedia of the Social and Behavioral Sciences , Amsterdam: Elsevier, 2002, p. 4737.

[16] “缝合”这一引起共鸣的概念由斯图亚特·霍尔（Stuart Hall）提出，见Stuart Hall,“Introduction: Who Needs Identity?”in Questions of Cultural Identity , Stuart Hall and Paul du Gay (eds.), London: Sage Publications, 1996, pp. 1–17。

[17] J. Lawrence Witzleben,“ Jiangnan Sizhu Music Clubs in Shanghai: Context, Concept and Identity”, Ethnomusicology , Vol. 31 (1987), pp. 240–260.引文见p.256。

[18] Witzleben,“ Jiangnan Sizhu Music Clubs in Shanghai”, p. 249.

[19] 译注：一种由约鲁巴人发展的带有地域风格的尼日利亚城市流行音乐。

[20] Waterman,“‘I’m a Leader, Not a Boss’”.

[21] Waterman,“‘I’m a Leader, Not a Boss’”, p. 67 and p. 68.

[22] Thomas Solomon,“Dueling Landscapes: Singing Places and Identities in Highland Boliva”, Ethnomusicology , Vol. 44 (2000), pp. 257–280.提供了另一个人们通过歌唱来实现地方归属感的优秀案例，关注的是聚居在玻利维亚高地的小部分原住民。

[23] Gordon R. Thompson,“The Carans of Gujarat: Caste Identity, Music, and Cultural Change”, Ethnomusicology , Vol. 35(1991), pp. 381–391.

[24] Thompson,“The Carans of Gujarat”, p. 389.

[25] Lara Allen,“Commerce, Politics, and Musical Hybridity: Vocalizing Black South African Identity during the 1950s”, Ethnomusicology , Vol. 47 (2003), pp. 228–249.

[26] Allen,“Commerce, Politics, and Musical Hybridity”, p. 234.

[27] Allen,“Commerce, Politics, and Musical Hybridity”, p. 237.

[28] Allen,“Commerce, Politics, and Musical Hybridity”, p. 238.

[29] Allen,“Commerce, Politics, and Musical Hybridity”, p. 243.

[30] 这种思路中，我最喜欢的案例并不是出自这些民族音乐学的文章，而是一本音乐民族志，见Jane C. Sugarman, Engendering Song: Singing and Subjectivity and Prespa Albanian Weddings , Chicago: University of Chicago Press, 1997。

[31] Peter Manuel,“Andalusian, Gypsy, and Class Identity in the Contemporary Flamenco Complex”, Ethnomusicology , Vol. 33(1989), pp. 47–65.

[32] Manuel,“Andalusian, Gypsy, and Class Identity in the Contemporary Flamenco Complex”, p. 48.

[33] Manuel,“Andalusian, Gypsy, and Class Identity in the Contemporary Flamenco Complex”, p. 57.

[34] Manuel,“Andalusian, Gypsy, and Class Identity in the Contemporary Flamenco Complex”, p. 59.

[35] Manuel,“Andalusian, Gypsy, and Class Identity in the Contemporary Flamenco Complex”, p. 61.

[36] Manuel,“Andalusian, Gypsy, and Class Identity in the Contemporary Flamenco Complex”, p. 62.

[37] 对这一观点更详细的叙述和案例，见Timothy Rice,“Reflections on Music and Meaning: Metaphor, Signification, and Control in the Bulgarian Case”, British Journal of Ethnomusicology , Vol. 10 (2001), pp. 19–38。

[38] Thomas Turino,“The Urban-Mestizo Charango Tradition in Southern Peru: A Statement of Shifting Identity”, Ethnomusicology , Vol. 28 (1984), pp. 253–270.

[39] 在所有文本中，还有另外三个研究对多重身份进行了叙述，但本文并没有对它们进行特别的总结：Jeffrey A. Summit,“‘I’m a Yankee Doodle Dandy?’: Identity and Melody at an American Simha at Torah Celebration”, Ethnomusicology , Vol. 37 (1993), pp. 41–62，讲述了犹太身份与美国身份认同的碰撞；Daniel B. Reed,“‘The Ge is in the Church’ and ‘Our parents are Playing Muslim’: Performance, Identity, and Resistance among the Dan in Postcolonial Côte d’Ivoire”, Ethnomusicology , Vol. 49 (2005), pp. 347–357,关注的是族群和宗教认同的碰撞；还有Julian Gerstin,“Reputation in a Musical Scene: The Everyday Context of Connections between Music, Identity, and Politics”, Ethnomusicology , Vol. 42 (1998), pp. 385–414,探讨了国家、城市–乡镇以及个体身份认同的交织。

[40] 有关这一观点的案例，见Anthony Giddens, Modernity and Self-identity: Self and Society in the Late Modern Age , Stanford, CA: Stanford University Press, 1991;有关这一观点在民族音乐学中的应用，见Rice,“Time, Place, and Metaphor in Musical Experience and Ethnography”。

[41] Nikolas Rose,“Identity, Genealogy, History”, in Questions of Cultural Identity , Stuart Hall and Paul du Gay (eds.), London: Sage Publications, 1996, pp.128–150.引文引自p.130。

[42] Rose,“Identity, Genealogy, History”, p. 140.

[43] 对这一观点最详细的论述之一，见Sugarman, Engendering Song 。

[44] David Harnish,“New Lines, Shifting Identities: Interpreting Change at the Lingsar Festival in Lombok, Indonesia”, Ethnomusicology , Vol. 49 (2005), pp. 1–24.

[45] Harnish,“New Lines, Shifting Identities”, p.5.

[46] Harnish,“New Lines, Shifting Identities”, p.19.

[47] Harnish,“New Lines, Shifting Identities”, p.20.

[48] Rogers Brubaker and Frederick Cooper,“Beyond ‘Identity’”, Theory and Society , Vol. 29 (2000), pp.1–47.引文引自p.14。我希望在此向这篇文章对我有关身份认同的思考所产生的有益影响表示感谢。

[49] Zygmunt Bauman,“From Pilgrim to Tourist – or a Short History of Identity”, in Questions of Cultural Identity , Stuart Hall and Paul du Gay (eds.), London: Sage Publications, 1996, pp. 18–36.

[50] Grossberg,“Identity and Cultural Studies – Is That All There Is?”.

[51] Grossberg,“Identity and Cultural Studies – Is That All There Is?”p. 102.

[52] Peter Manuel,“Puerto Rican Music and Cultural Identity: Creative Appropriation of Cuban Sources from Danza to Salsa”, Ethnomusicology , Vol. 38 (1994), pp. 249–280.

[53] Manuel,“Puerto Rican Music and Cultural Identity”, p. 250.

[54] Manuel,“Puerto Rican Music and Cultural Identity”, p. 271.

[55] Manuel,“Puerto Rican Music and Cultural Identity”, pp. 272–274.

[56] Manuel,“Puerto Rican Music and Cultural Identity”, pp. 276–277.

[57] Chris Goertzen,“Powwows and Identity on the Piedmont and Coastal Plains of North Carolina”, Ethnomusicology , Vol. 45(2001), pp. 58–88.

[58] Goertzen,“Powwows and Identity on the Piedmont and Coastal Plains of North Carolina”, p. 68.

[59] Goertzen,“Powwows and Identity on the Piedmont and Coastal Plains of North Carolina”, p. 70.

[60] Goertzen,“Powwows and Identity on the Piedmont and Coastal Plains of North Carolina”, p. 70.

[61] Goertzen,“Powwows and Identity on the Piedmont and Coastal Plains of North Carolina”, p. 71.

[62] 有一个探讨中常见但在这里没有提到的观点是，身份认同是以差异为基础建构的，也就是说，一个人的自我认知是通过对于一个“他者”的建构而构成的。从另一方面说，凯文·罗宾斯（Kevin Robbins）认为，如想超越这一立场，可以减少对于文化认同的关注，而更多地关注文化置换。这需要我们不将他人想象为本质上与我们不同，而要认为他们具有能动性；考虑开放性和变化的可能性；根据与他们如何行动有关的一些知识，将心比心。见Kevin Robbins,“Interrupting Identities: Turkey/Europe”, in Questions of Cultural Identity , Stuart Hall and Paul du Gay (eds.), London: Sage Publications, 1996, pp. 61–86。音乐似乎对这两种议题都可做出贡献。一方面，对于群体喜欢的作乐风格及其与其他群体的差异，音乐会对这一特性给予最强最直接的体验性表达。另一方面，在后现代时代，音乐为具体的使人深感满意的对话和交流形式提供了机会，音乐家们为这些机会感到喜悦，这些对话和交流正反驳了由不同政治派别中身份制造者们在语言和政治领域进行的有关差异的论述。不过大多数文章作者的研究并没有过多关注这些观点。

[63] Christopher A. Waterman,“‘Our Tradition Is a Very Modern Tradition’: Popular Music and the Construction of Pan-Yoruba Identity”, Ethnomusicology , Vol. 34 (1990), pp. 367–379.

[64] Waterman,“‘Our Tradition Is a Very Modern Tradition’”, p. 372.

[65] Waterman,“‘Our Tradition Is a Very Modern Tradition’”, p. 376.

[66] Waterman,“‘Our Tradition Is a Very Modern Tradition’”, p. 376.

[67] Barbara Krader,“Slavic Folk Music: Forms of Singing and Self-Identity”, Ethnomusicology , Vol.31(1987), pp. 9–17.

[68] Thomas Turino,“Signs of Imagination, Identity, and Experience: A Peircian Semiotic Theory for Music”, Ethnomusicology , Vol. 43 (1999), pp. 221–255.

[69] Turino,“Signs of Imagination, Identity, and Experience”, p. 236.

[70] 编注：本书只收录并翻译了其中的12篇。 v1S4cDoZ6OO5M7W4UDcvdvTpyVWaEXXA2ZjYsxz0lViV6eQP/WfCbGM4F+6xrcx4