Review 评论
Reviewed Work(s): Such Are the Fading Sounds [Yue you ruci] by Yu Siu-wah Review by: John Winzenburg
评论作品：余兆华的《声声慢》 评论者： John Winzenburg约翰-温森伯格
Source: Asian Music, Vol. 38, No. 2 (Summer - Autumn, 2007), pp. 146-148
《资料来源亚洲音乐》，第 38 卷第 2 期（2007 年夏秋季），第 146-148 页
Published by: University of Texas Press
出版商：德克萨斯大学出版社
Stable URL:
https://www.jstor.org/stable/4497060
稳定 URL: https://www.jstor.org/stable/4497060
Accessed: 10-09-2024 08:46 UTC
已访问：10-09-2024 08:46 UTCJSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact
support@jstor.org.
JSTOR 是一项非营利性服务，帮助学者、研究人员和学生发现、使用和利用值得信赖的数字档案中的各种内容。我们利用信息技术和工具提高工作效率，促进新形式的学术研究。有关 JSTOR 的更多信息，请联系 support@jstor.org。University of Texas Press is collaborating with JSTOR to digitize, preserve and extend access to Asian Music
德克萨斯大学出版社与 JSTOR 合作，对亚洲音乐进行数字化、保存和扩展访问权限
Book Reviews 书评
Such Are the Fading Sounds [Yue you ruci], in Chinese (complex) and English. Yu Siu-wah. Hong Kong: International Association of Theatre Critics, 2005. xxxv +363 pp., illustrations, notes, bibliography, index. ISBN: 962-8321-44-7 (Paperback).
这就是消逝的声音[Yue you ruci]，中文（繁体）和英文。余兆华。xxxv +363 页，插图，注释，参考书目，索引。ISBN: 962-8321-44-7（平装本）。
As the tenth anniversary of Hong Kong's ceremonial handover to the People's Republic of China (PRC) approaches, the Special Administrative Region (SAR) is entering a new phase of soul searching. Such Are the Fading Sounds joins the growing array of literature-in this case, a background of Hong Kong Chinese music-that represents an anxiety-driven, nostalgic search for identity, validation, and some degree of self-determination on the part of Hong Kong denizens since they began facing their impending shift in colonial status from the early 1980s. However, with the most apocalyptic fears of the July 1997 handover having abated, for the moment, cultural analysts are beginning to assess Hong Kong's transformation through the lens of a "trans-colonial" territory that is emerging from its embryonic stage within the PRC.
随着香港回归祖国十周年纪念日的临近，香港特别行政区（SAR）正进入一个新的反思阶段。自上世纪八十年代初香港人开始面对即将到来的殖民地地位转变以来，越来越多的文学作品--这里指的是以香港华人音乐为背景的作品--都在焦虑的驱使下，怀旧地寻求身份认同、确认和某种程度的自决。然而，随着对 1997 年 7 月香港回归的末日恐惧逐渐消退，目前，文化分析家们开始从 "跨殖民地 "的角度来评估香港的转变。
Yu Siu-wah is ideally situated, being both Chinese and Western educated, to recount Hong Kong's musical trajectory. Having played erhu (Chinese fiddle) professionally in the Hong Kong Chinese Orchestra and holding a PhD in musicology from Harvard, he is now on the music faculty at the Chinese University of Hong Kong. Such Are the Fading Sounds is a successor to his earlier book Out of Chaos and Coincidence: Hong Kong Music Culture (published in Chinese by Oxford University Press in 2001) and other valuable publications in which Yu has evaluated Hong Kong and Chinese music in historical contexts.
余兆华受过中西教育，是讲述香港音乐轨迹的理想人选。他曾在香港中乐团专业演奏二胡，拥有哈佛大学音乐学博士学位，现为香港中文大学音乐系教师。这就是渐行渐远的声音》是他早年著作《走出混沌与巧合》的续篇：香港音乐文化》（中文版于 2001 年由牛津大学出版社出版）及其他有价值的著作。
Unlike Out of Chaos, the more recent book is bilingual, being segmented into two halves and four parts. Parts I and II comprise the first half in Chinese and Parts III and IV parallel the first half in an abridged English translation of the Chinese version. Parts I and III offer a general summary of Chinese music, while Parts II and IV discuss Chinese music within the specific framework of Hong Kong. To a degree, the bilingual layout succeeds in communicating to a segment of Chinese and non-Chinese readers alike. It is written in the complex form of Chinese script (targeting a primarily Hong Kong and Taiwan readership), and pinyin is used alongside the Chinese characters that appear in the English section for cross-referencing. The English half is not always edited to native English
与《走出混沌》不同，最新出版的这本书是双语版本，分为上下两半和四个部分。第一和第二部分是上半部分的中文版，第三和第四部分是与上半部分平行的中文版节略英译本。第一和第三部分是对中国音乐的总体概述，而第二和第四部分则是在香港的特定框架内讨论中国音乐。在某种程度上，这种双语编排成功地与部分中国读者和非中国读者进行了沟通。该书以复杂的中国文字书写（主要面向香港和台湾读者），英文部分中出现的汉字也使用了拼音，以便相互参照。英文部分并不总是根据母语为英语的读者进行编辑。
publishing standards. However, the illustrations of instruments and musicians are excellent, all appearing in the front Chinese half, and include bilingual captions.
出版标准。不过，乐器和音乐家的插图非常出色，全部出现在中文前半部分，并配有双语说明。
According to the Chinese preface, the book is designed to introduce musical and cultural aficionados to the basics of Hong Kong Chinese music without entering technical discussions. Despite this seemingly elementary goal, Yu pursues a number of subtler objectives. For example, as the title suggests, Such Are the Fading Sounds is a lament over the loss of Hong Kong's more "traditional" Chinese music culture in the face of national, regional, and global changes that will dictate its twenty-first-century future. During this period "when the concept of Chinese national music is at stake," (259) Yu actively perpetuates Hong Kong-related research as one effort to save the SAR from being "drowned by the grand narrative of China." (325) The strategy is to establish and maintain Hong Kong's unique cultural position between China and the West on a number of fronts-both as East-West interface and as preserver of an authentic yet "repackaged" (317) Chinese tradition that "can be described as a survivor and the last resort for Mainland music culture after numerous political unrests" (321).
根据中文序言，该书旨在向音乐和文化爱好者介绍香港中国音乐的基本知识，而不涉及技术讨论。尽管这一目标看似简单，但余氏却追求一些更微妙的目标。例如，正如书名所示，《声声皆消逝》是对香港 "传统 "中国音乐文化在国家、地区和全球变化面前失落的哀叹，而这些变化将决定香港 21 世纪的未来。在这个 "中国民族音乐概念岌岌可危"（259）的时期，余英时积极延续与香港有关的研究，以拯救香港特区免于 "被中国的宏大叙事所淹没"。(325)其策略是在多个方面确立并保持香港在中国与西方之间的独特文化地位--既是东西方文化的交汇点，也是正宗但被 "重新包装"（317）的中国传统的保存者，"可以说是内地音乐文化在多次政治动荡后的幸存者和最后的选择"（321）。
As a demonstration of uniqueness, however, Parts II and IV offer only brief synopses of various terminologies and contexts in the Hong Kong setting. They are relegated to terse references to Chinese, Western, and "World" music, along with a rundown of performance contexts, ranging from religious/ritual forms to recorded and broadcast music. Instrumental music is afforded surprisingly little coverage, given the author's own experience and virtuosity, while Chapter 12 on vocal music is the most extensive description of local culture. Here, Yu introduces readers to the genres and musicians that characterize the territory's prolific operatic, narrative, movie, and popular music life.
然而，作为独特性的体现，第二部分和第四部分仅简要概述了香港的各种术语和背景。它们只是简短地提及中国音乐、西方音乐和 "世界 "音乐，以及从宗教/仪式形式到录制和广播音乐等各种表演背景。鉴于作者自身的经验和精湛技艺，该书对器乐的介绍少得令人吃惊，而第 12 章关于声乐的介绍则是对地方文化最广泛的描述。在这里，余秋雨向读者介绍了本地多产的歌剧、叙事曲、电影和流行音乐的流派和音乐家。
In contrast to the brevity of detail relating to distinctively Hong Kong music, the subtle discrepancies between the Chinese and English halves form a more telling subtext to the book's surface commentary. On one level, Yu Siu-wah writes primarily for the Chinese-reading audience, as some of the most valuable sections are left out of the English translation. At the same time, spatial limitations prevent Yu from more fully elaborating on what might have been the most valuable resource from this book: an expanded, comprehensive discussion of Hong Kong music as it seeks to both integrate with and distinguish itself from its new northern overseer. With nearly half of the book spent on discussing the basics of Chinese music-information that is already documented in well-known reference encyclopedias and dictionaries-trained music researchers may benefit more from Yu's candid and well-conceived evaluation of Chinese music in the modern era. For example, Chapter 6 in both versions clarifies the development of "new"-that is, reformed-Chinese instruments under Western influence through the twentieth century. The chapter spotlights a frequent misconception that the Chinese instruments audiences see and hear today are, despite
与有关香港音乐的简短细节形成对比的是，中英文本之间的微妙差异构成了该书表面评论的更有说服力的潜台词。从某种程度上说，余兆华主要是为中文读者写作，因为一些最有价值的部分在英译本中没有出现。与此同时，空间上的限制也阻碍了余兆华更充分地阐述本书最有价值的资源：对香港音乐进行更广泛、更全面的讨论，因为香港音乐既寻求与新的北方监管者融合，又寻求与之区分开来。本书近一半的篇幅用于讨论中国音乐的基础知识--这些信息在著名的参考百科全书和词典中已有记载--受过专业训练的音乐研究者可能会从余英时对现代中国音乐坦率而周密的评价中获益更多。例如，两个版本的第 6 章都阐明了 20 世纪受西方影响的 "新"--即经过改革的--中国乐器的发展。该章指出了一个经常出现的误解，即观众今天所看到和听到的中国乐器，尽管是 "新 "的，但却是 "旧 "的。
their symbolic imagery, a fundamental departure from the timbres, acoustics, techniques, and contexts they represented over a century ago.
其象征性意象，与一个多世纪前的音色、音响效果、技术和背景大相径庭。
As a reflection of this musical contradiction, disparities in the Chinese-English content reveal a broader dilemma facing the author: as China reasserts itself on the global stage, whether it be politically, economically, or culturally, Hong Kong artists and academics—many of whom are trained in the West and have grown up with a multiplicity of identities-have ambiguous loyalties as they acclimate themselves to their new reality as PRC subjects. Despite the convenience of the aforementioned bilingual captions, for example, subtle differences exist between the Chinese and English that exceed mere literal questions of translation. In one instance, the English caption describes the zhongruan plucked lute on page 59 as an "obvious cheap imitation of the guitar," whereas the Chinese caption lacks the deprecatory insertion. The more candid English commentary hints at the multi-layered process of documenting Hong Kong's musical culture within a broader, extra-musical context.
作为这一音乐矛盾的反映，中英文内容的差异揭示了作者面临的一个更广泛的困境：随着中国在全球舞台上重新展示自己，无论是政治、经济还是文化方面，香港的艺术家和学者--其中许多人在西方接受过培训，在多重身份中成长--在适应作为中华人民共和国主体的新现实时，他们的忠诚是模糊的。例如，尽管前面提到的双语标题很方便，但中英文之间存在着微妙的差异，这种差异超出了单纯的字面翻译问题。有一次，英文标题将第 59 页的中阮弹拨琵琶描述为 "明显的廉价吉他仿制品"，而中文标题则没有插入贬义词。更坦率的英文注释暗示了在更广泛的、音乐以外的背景下记录香港音乐文化的多层次过程。
As the author grieves the loss of Hong Kong's Chinese identity—a cultural distinction observers such as Ackbar Abbas point out became increasingly necessary when the approaching 1997 handover loomed over its citizenry-a more epochal portent quietly appears in the English version on page 237. Here Yu confides that the wholesale import of Western musical aesthetics over the past century grew both out of a "lack of cultural confidence," which is well documented historically, countered by "a clear Sinocentrism looming behind the inferior complex." He warns that, as Chinese musicians "have simplistically equated sheer increase in volume, brightness, virtuosity, speed, and size of performing forces with achievement and sophistication," what is actually hidden underneath this mentality "is in fact the desire to defeat the West culturally, if not militarily." These omens have been carefully withheld from the Chinese version, which instead focuses on Western technical advancements and refinement as the driving forces of adaptation. In this way, Such Are the Fading Sounds is a valuable reaffirmation of Hong Kong-and the SAR's cosmopolitan academy, in particular-as potential mediator between new China and the evolving global system.
当作者为香港失去中国人身份感到悲痛时--阿克巴-阿巴斯等观察家指出，1997 年香港回归迫在眉睫时，这种文化差异变得越来越必要--一个更具划时代意义的预兆悄然出现在英文版第 237 页。余秋雨在此坦言，在过去的一个世纪里，西方音乐美学的全盘引进既源于 "缺乏文化自信"，这在历史上有据可查，又被 "明显的中国中心主义在自卑情结的背后若隐若现 "所抵消。他警告说，由于中国音乐家 "简单地将音量、亮度、技巧、速度和表演力量规模的纯粹增长等同于成就和先进性"，这种心态的背后实际上隐藏着 "即使不是在军事上，也要在文化上打败西方的愿望"。这些预兆在中国版本中被小心翼翼地隐藏起来，而将西方技术的进步和完善作为适应的动力。因此，《消逝的声音》再次肯定了香港--尤其是香港特区的国际学术界--作为新中国与不断演变的全球体系之间潜在调解人的价值。
John Winzenburg 约翰-温岑堡
Agnes Scott College 艾格尼丝斯科特学院
References 参考资料
Abbas, Ackbar 阿巴斯、阿克巴尔
1997 Hong Kong Culture and the Politics of Disappearance. Hong Kong: Hong Kong University Press.
1997 《香港文化与失踪政治》。香港：香港大学出版社。
Yu Siu-wah 余兆华
2001 Out of Chaos and Coincidence: Hong Kong Music Culture. Hong Kong: Oxford University Press.
2001 走出混沌与巧合：香港音乐文化》。香港，牛津大学出版社：牛津大学出版社。