Nikolsky Aleksey, Alekseyev Eduard, Alekseev Ivan, Dyakonova Varvara
Braavo Enterprises, Los Angeles, CA, United States.
Independent Researcher, Boston, MA, United States.
Front Psychol. 2020 Feb 18;10:3051. doi: 10.3389/fpsyg.2019.03051. eCollection 2019.
This is an attempt to describe and explain so-called timbre-based music as a special system of musicking, communication, and psychological and social usage, which along with its corresponding beliefs constitutes a viable alternative to "frequency-based" music. Unfortunately, the current scientific research into music has been skewed almost entirely in favor of the frequency-based music prevalent in the West. Subsequently, whenever samples of timbre-based music attract the attention of Western researchers, these are usually interpreted as "defective" implementations of frequency-based music. The presence of discrete pitch is often regarded as the structural criterion that distinguishes music from non-music. We would like to present evidence to the contrary-in support of the existence of indigenous music systems based on the discretization and patterning of aspects of timbre, rather than pitch. This evidence comes mainly from extensive ethnographic research systematically conducted in eastern European and Asian parts of Russia from the 1890s. It involved the efforts of thousands of specialists and was coordinated by dozens of research institutions, and it has included not just ethnomusicology but linguistics, philology, organology, archaeology, anthropology, geography, and religious, and social studies. Much of the data has not been translated into Western languages. Although some Soviet-era publications were tainted by Marxist ideology, many researchers strove to provide accurate information (despite at times having been prosecuted for their work), and post-1990 research undertook a substantial revision of ideologically compromised concepts. Timbre-based tonal organization (TO) differs from that based on frequency in its personal orientation: musicking here occurs primarily for oneself and/or for close relatives/friends. Collective music-making is rare and exceptional. The foundation of timbre-based music seems to have vocal roots and rests on "personal song"-a system of personal identification through individualized patterns of rhythm, timbre, and pitch contour, utilized like a "human voice"-whose sound enables the recognition of a particular individual. The instrumental counterpart of the personalized singing tradition is the jaw harp tradition. The jaw harp is the principal musical instrument for at least 21 ethnicities in Russia, who occupy over half the territory of the country. The evolution of its TO forms the backbone for the development of timbre-based music art. Here, we provide the acoustic, socio-cultural, geographic, and chronological overview of timbre-based music.
本文试图将所谓基于音色的音乐描述并解释为一种特殊的音乐制作、交流以及心理和社会用途的系统，它与其相应的观念一起，构成了“基于频率”音乐的一种可行替代方案。不幸的是，当前对音乐的科学研究几乎完全偏向于西方盛行的基于频率的音乐。随后，每当基于音色的音乐样本引起西方研究人员的注意时，这些样本通常被解释为基于频率音乐的“有缺陷”的实现方式。离散音高的存在常常被视为区分音乐与非音乐的结构标准。我们想提出相反的证据——支持存在基于音色而非音高的离散化和模式化的本土音乐体系。这些证据主要来自19世纪90年代起在俄罗斯东欧和亚洲部分地区系统开展的广泛民族志研究。它涉及数千名专家的努力，由数十个研究机构协调，不仅包括民族音乐学，还涵盖语言学、文献学、乐器学、考古学、人类学、地理学以及宗教和社会研究。许多数据尚未被翻译成西方语言。尽管一些苏联时期的出版物受到马克思主义意识形态的影响，但许多研究人员努力提供准确信息（尽管他们有时因工作而受到起诉），并且1990年后的研究对受意识形态影响的概念进行了大幅修订。基于音色的音调组织（TO）在个人取向方面与基于频率的不同：这里的音乐制作主要是为自己和/或亲密的亲戚/朋友。集体音乐制作很少且不常见。基于音色的音乐的基础似乎有声乐根源，并且基于“个人歌曲”——一种通过节奏、音色和音高轮廓的个性化模式进行个人识别的系统，其作用类似于“人声”——其声音能够识别特定的个人。个性化歌唱传统的乐器对应物是口弦琴传统。口弦琴是俄罗斯至少21个民族的主要乐器，这些民族占据了该国一半以上的领土。其音调组织的演变构成了基于音色的音乐艺术发展的主干。在此，我们提供基于音色的音乐的声学、社会文化、地理和时间顺序概述。
