多民族跨境共享的格萨（斯）尔史诗传统是中外史诗学界的研究焦点，但史诗演述与其音乐表达之间的内在关系和族际比较却未得到应有的重视，这便构成本书的基本工作方向。作者以口头传统为方法，力图在目治与耳治间建立起走向音乐表达的理论阐释模型。全书通过对藏蒙史诗汉译本的参互堪比，发现文本间异中有同的叙事模式，同时在藏、蒙古和土族史诗音声档案与田野研究的交互参证中提出史诗音乐范式概念体系，从音乐维度拓展中国史诗学的理论话语空间，揭示史诗音乐在形塑特定叙事传统时所呈现的文化多样性，进而窥探史诗叙事演述性的音乐向度，建立基于口头交流艺术的认知通则。该著致力于打破民间文艺学与民族音乐学之间的学科藩篱，在口头诗学的理论观照下探索中国史诗学的跨学科研究理路，为今天依然在世界范围内存续的活态史诗传统提供走向全观诗学的“中国视野”。

The multi-ethnic cross-border sharing of the Gesar epic tradition is the focus of research in Chinese and foreign epic scholars, but the internal relationship and inter-ethnic comparison between epic speech and its musical expression have not received due attention, which constitutes the basic work direction of this book. Using oral tradition as a method, the author attempts to establish a theoretical interpretation model towards musical expression between eye rule and ear rule. At the same time, the conceptual system of epic music paradigm is proposed in the interactive reference between Tibetan, Mongolian and Turkish epic sound archives and field research, expanding the theoretical discourse space of Chinese epic poetics from the musical dimension, revealing the cultural diversity of epic music in shaping a specific narrative tradition, and then peeping into the musical dimension of epic narrative presentation, and establishing a general cognitive principle based on oral communication art. The book is committed to breaking down the disciplinary barriers between folklore and ethnomusicology, exploring the interdisciplinary research path of Chinese epic under the theoretical perspective of oral poetics, and providing a "Chinese vision" towards holistic poetics for the living epic tradition that still exists in the world today.（AI翻译）

暂无简介

用户未登录无权限查看参考文献