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84498535.Pdf UNIVERSITÀ DEGLI STUDI DI MACERATA DIPARTIMENTO DI STUDI UMANISTICI CORSO DI DOTTORATO DI RICERCA IN SCIENZE LINGUISTICHE, FILOLOGICHE, LETTERARIE E STORICO-ARCHEOLOGICHE CURRICULUM STORIA LINGUISTICA DELL’EURASIA - CICLO XXIX - MUSICA E CULTURA DELLE MINORANZE MONGOLE NELLA REPUBBLICA POPOLARE CINESE. L’ETNIA BARGA TUTOR DOTTORANDA Chiar.mo Prof. Vincenzo Caporaletti Wang Li COORDINATORE Chiar.mo Prof. Diego Poli ANNO 2017 SOMMARIO INTRODUZIONE ...................................................................................................... 6 PRIMA PARTE CRITERI METODOLOGICI DI INDAGINE SULLE MUSICHE DELLE MINORANZE ETNICHE CINESI: L’ETNOMUSICOLOGIA OCCIDENTALE E QUELLA CINESE 1. Lineamenti di sviluppo della etnomusicologia occidentale ................................ 20 2. Problemi attuali dell’etnomusicologia cinese e le nuove prospettive etnomusic- ologiche........................................................................................................................ 36 2.1. Le musiche tradizionali cinesi ........................................................................... 36 2.1.1. La musica cinese nell’antichità ................................................................... 38 2.1.2. La ricerca sulla musica etnica cinese .......................................................... 44 2.2. Nascita e sviluppo dell’etnomusicologia cinese................................................ 52 2.3. Situazione attuale e prospettive dell’etnomusicologia cinese ........................... 63 2.3.1. Ricezione del concetto “etnomusicologia” ................................................. 63 2.3.2. Approccio metodologico della etnomusicologia cinese ............................. 66 2.3.3. Le oggettive criticità dell’etnomusicologia cinese ..................................... 74 SECONDA PARTE IL PASSATO E IL PRESENTE DELLA MUSICA DELLE MINORANZE ETNICHE IN CINA: L’ESEMPIO DELLA MUSICA MONGOLA 3. Le caratteristiche della musica nelle minoranze etniche cinesi ......................... 79 3.1. La multiculturalità cinese come fondamento della varietà delle musiche tradizionali cinesi ..................................................................................................... 79 3.2. La comunicazione della musica delle minoranze etniche cinesi ....................... 82 3.3. Caratteristiche generali delle musiche delle minoranze .................................... 86 3.4. Quale futuro per la musica delle minoranze? .................................................... 93 3.4.1. Il problema della eredità culturale nelle minoranze etniche cinesi ............ 94 3.4.2. L’influenza della globalizzazione, della musica occidentale e della musica pop ........................................................................................................................ 96 3.4.3. La strategia protezionstica della musica etnica delle minoranze cinesi: il modello di «Tianfeng» e di «Lijiang» ................................................................ 100 3.4.4. Prospettive delle musiche tradizionali cinesi: alcune riflessioni al riguardo ............................................................................................................................ 103 4. La cultura e la musica mongola .......................................................................... 105 4.1. Sguardo d’insieme sulla cultura mongola in Cina .......................................... 106 4.1.1. La distribuzione della popolazione di origine mongola in Cina ............... 106 4.1.2 L’etimologia del nome “Mongolia” e la storia del gruppo etnico mongolo ............................................................................................................................ 107 4.1.3. Costumi religiosi ...................................................................................... 109 4.1.4. Arti coreutiche e visive ............................................................................. 110 4.1.5. Vita quotidiana e costumi tradizionali ...................................................... 113 4.1.6. Cerimonie nuziali e funebri ...................................................................... 115 4.1.7. Il calendario liturgico ................................................................................ 119 4.2. Gli studi e le forme della musica tradizionale mongola cinese ....................... 121 4.3. Le funzioni sociali della musica ...................................................................... 140 TERZA PARTE CANTI DELLA PRATERIA. LA MUSICA POPOLARE DELLA TRADIZIONE MONGOLA E GLI ATTUALI PROCESSI DI TRASFORMAZIONE DELLA MUSICA ETNICA 5. Ricerca sul campo: La musica popolare del Distretto di Barga, prefettura di Hulunbuir nella Mongolia interna .......................................................................... 169 5.1. L’area dell’indagine ........................................................................................ 169 5.1.1. Motivazioni della ricerca .......................................................................... 169 5.1.2. Caratteristiche geografiche ....................................................................... 172 5.1.3. Storia del gruppo tribale ........................................................................... 174 5.2. La trasmissione della musica etnica dei Barga ............................................... 181 5.2.1. Modalità di trasmissione della musica tradizionale .................................. 182 5.2.2. Cambiamenti organici nel processo di trasmissione della musica popolare ............................................................................................................................ 198 5.2.3. Ambiente sociale della trasmissione ......................................................... 200 5.3. Contenuti della trasmissione ........................................................................... 202 5.3.1. Canti popolari tradizionali ........................................................................ 202 5.3.2. Elaborazioni moderne e nuove composizioni ........................................... 221 6. Le musiche tradizionali mongole tra patrimonializzazione e trasformazione ................................................................................................................................... .234 6.1. La musica mongola nella transizione tra la tradizione e contemporaneità ..... 234 6.1.1. I cambiamenti ambientali e socio economici ........................................... 234 6.1.2. Il cambiamento dei mezzi di diffusione ................................................... 242 6.2. Elementi transculturali e sviluppo della musica etnica dei mongoli Barga .... 250 6.3. Il Modello Teorico della Formatività audiotattile: quali paradigmi per lo studio della musica dei Barga? ......................................................................................... 268 6.3.1. La Teoria della Musica Audiotattile ......................................................... 269 6.3.2. La teoria del Principio Audiotattile e la musica di tradizione orale di Barga ............................................................................................................................ 277 6.3.3. Efficacia della Teoria della Musica Audiotattile (TMA) nello studio dei processi di trasformazione della cultura Barga .................................................. 285 6.3.4. Effetti della Codifica Neo-auratica .......................................................... 287 6.3.5. Le nuove forme delle musiche di Barga possono essere classificate come musiche audiotattili? ........................................................................................... 295 CONCLUSIONI ....................................................................................................... 306 BIBLIOGRAFIA ..................................................................................................... 316 Ringraziamenti Il sentimento che domina nel mio animo in questi giorni, in cui ho la gioia di portare a termine questa mia ricerca, è un forte senso di gratitudine. Gratitudine verso la mia mamma, che mi ha accompagnato con le sue preghiere ogni giorno, e anche verso il mio papà, che mi ha insegnato a vivere, a suonare e ad amare la musica e che ora mi guarda dal cielo. Il mio ringraziamento si estende, con affettuoso rispetto, all’Ufficio Ricerca Scientifica e Formazione alla Ricerca Avanzata dell’Università di Macerata per l’indispensabile aiuto in questi anni, e ai professori, agli artisti e agli amici cinesi che mi hanno sostenuto amichevolmente e generosamente durante la ricerca sul campo nella zona di Barga, nella Mongolia interna cinese. Mi sento in dovere di rivolgere una parola di sincera gratitudine a tutti gli amici italiani che mi hanno incoraggiato e aiutato nello studio e nella vita in questi anni a Macerata: in modo particolare all’amico Gilberto Montali, che mi ha assistito nella redazione, ed ai miei amici cinesi, specialmente quelli del Centro Studi Li Madou (P. Matteo Ricci) e del Seminario Redemptoris Mater. Infine, la mia più profonda gratitudine va al mio Tutor, il prof. Vincenzo Caporaletti, per la sua costante disponibilità e l’incoraggiamento, per i suoi precisi suggerimenti, per l’aiuto che con sincera amicizia mi ha dato nel reperire materiali e documenti, guidandomi nello studio in questi anni e nei momenti difficili, e al mio Coordinatore, il prof. Diego Poli, per la sua grande pazienza, la sua disponibilità e i suoi consigli, e a tutti i professori di Dipartimento di Studi Umanistici
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