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我想就建立培养音乐文化遗产保护和管理人材机制的问题提出一点建议。提出建议的原因有两个:其一,我是以保护非物质文化遗产的角度考虑的。音乐文化当然属于“非物质文化”的范畴,而且是其中重要的部分之一,必须加以保护。其二,无形文化遗产保护保护工作与其他同类文化工作有所不同,由于它的特殊性,决定了从事这方面工作的人需要具备与其它文化工作不同的条件和素质。以音乐为例,传统与民间音乐艺术的保护和管理人材,就与传统与民间艺术的表演艺术家(演唱、演奏家)不同,其政策水平和专业水平的要求都比较高,其专业方面所具备的知识和能力也与表演艺术家有所不同,侧重点也不同。但是我们目前的艺术院校大多数是以培养表演艺术家、理论家、教育工作者和一般音乐管理人才为主的,当然也就没有设立这方面的专业和课程。从这个意义上讲,我们艺术院校培养的学生,不能适应社会对无形文化遗产保护工作的需要,实际上已经存在保护工作的需要和人才培养之间的供需矛盾。我建议对培养音乐文化遗产保护和管理人才的机制分为两大体系———干部培训和专业培养。
I would like to make some suggestions on the issue of establishing a mechanism to protect and manage human resources for the development of music and cultural heritage. There are two reasons for making a suggestion: First, I think in terms of protecting the intangible cultural heritage. The music culture, of course, belongs to the category of “non-material culture” and is one of the important parts that must be protected. Second, the protection and protection of intangible cultural heritage is different from other similar cultural undertakings. Because of its particularity, it is decided that those who work in this field need to have different qualifications and qualifications with other cultural undertakings. Take music as an example. Different from traditional and folk art performing artists (singers and performers), the protection and management of traditional and folk music art are different from those of the traditional artists and folk music artists. Both their policy and professional standards require a high level of professionalism The knowledge and ability are also different from the performing artists, and the emphasis is different. However, most of our current art academies are primarily fostered by performing artists, theorists, educators and general music management professionals, and of course no major and course in this field have yet been established. In this sense, the students trained by our art colleges can not meet the needs of the society for the protection of intangible cultural heritage. In fact, there is a contradiction between supply and demand between the need of protection work and personnel training. I suggest that the mechanism for training and conserving music cultural heritage is divided into two systems --- cadre training and professional training.