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音乐人类学的文本,通常会成为作者在音乐人类学研究中视域立场、工作方法和思辨叙事的一种映射,这种映射是主体性的结果,最终会形成以写作者个体情感体验为深层核心的“音乐文化”的诗学表达。“诗学”本身是一种充满哲学意味的学理行为,因此音乐文化的文本形式相应也具有体现“探究‘人创造的艺术与其生存的文化关系’的哲学品质”之特点。[1]所以,在音乐人类学文本中,最为引人入胜之处在于每一个诗学表达者在作为文化观察者或者参与者时所占
The text of musical anthropology usually becomes a mapping of the author’s horizons, working methods, and speculative narratives in the study of musical anthropology. This mapping is the result of subjectivity, which eventually leads to the formation of a deeper core with individual emotional experience of writers “Music culture ” poetics expression. “Poetics ” itself is a kind of philosophical philosophical behavior, so the textual form of music culture correspondingly also has the characteristic of “exploring the philosophical quality of art created by human beings and its living cultural relationship.” [1] So the most fascinating aspect of musical anthropological texts is the share of each poetic expressionist as a cultural observer or participant