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这篇研究报告谈论的是一部泰国北部的音乐档案集成,主题是音乐的意涵如何在档案语言中被创造。20世纪末人类进入数码时代之前,英语学界对他者音乐文化的收集,一直紧密伴随着档案集成的制作,意即“归档”。档案集成,不仅是田野调查的成果,它还在很大程度上塑造并限定了音乐客体的知识形式。检视一个档案集成,我们可以窥见特定时代下的学术思潮。文中的数据来自于为期一年多的跟踪调研(2008年10月—2010年8月),该集成的内容包括杰拉德·戴克于20世纪60-70年代在泰国北部所采录的拉纳族群和其他少数民族的音乐录音。本文将列出该档案集成的结构和内容,并根据戴克所使用的日志描述语言,来解析制档过程中所呈现的现代性思维方式,以及解释“他者音乐”的现象学基础。
This research paper talks about the integration of music files in northern Thailand on the theme of how music is created in the language of the archive. Before the world entered the digital age at the end of the 20th century, the collection of music culture by the English academic circles has been closely followed by the integration of archives, which means “filing”. Archives integration is not only the result of fieldwork, but it also largely shapes and defines the forms of knowledge of musical objects. View a file integration, we can see the academic trend of a particular era. The data is based on a follow-up study of more than a year (October 2008-August 2010) that included Gerald Deck’s Lana recorded in northern Thailand in the 1960s and 1970s Music recordings of ethnic groups and other minorities. This article will list the structure and content of the file integration and parse the modern way of thinking presented in the filing process based on the log description language used by Deck and explain the phenomenological foundation of “The Other Music” .