黃淑莉。〈高唱復興：模仿美聲、詩班樂音、與滇北教會的禮儀重建〉。《民俗曲藝》233 (2026.9): 181–227。
Huang Shu-li. “Singing Revival: Bel Canto, Choral Music, and Liturgical Reconstructions Among Ahmao (Miao) Christians in Northern Yunnan.” Journal of Chinese Ritual, Theatre and Folklore 233 (2026.9): 181–227.
Abstract
儘管美聲詩班已經是世人認識滇北教會最直接的管道，阿卯詩班與美聲合唱的接觸卻相當短暫，就連詩班也非差會傳統的恢復，而是教會復興的全新創造。為了進一步釐清美聲詩班在滇北教會所扮演的角色，本文有兩個任務：首先，從禮儀重建的符號意識形態出發，論證詩班樂音所指涉的「新歌」意涵，何以見證改革開放的「新天新地」，又何以成為標記崇拜樂音的關鍵轉折；其次，釐清模仿美聲與詩班樂音之間的糾纏，由此揭露一個令人不安的事實，即：詩班樂音在複製與增生中逐漸逃離禮儀重建的復興部署，乃至突破崇拜樂音的邊界。本文指出，人們顯然拒絕賦予模仿美聲超越詩歌範疇的顯著性，反倒將這種特別的樂音理解為：只是在特定時空背景下形成的流行詩歌與唱法。這也意味着，對他們而言，溢出崇拜樂音範疇的模仿美聲其實是一種意義模糊且價值堪慮的不穩定存在。
Although bel canto choir 美聲詩班 has become the most direct avenue for the outside world to recognize Ahmao (Miao) Christians in northern Yunnan (southwest China), their engagement with bel canto techniques is elusive and difficult to pin down. Even church choirs are new to Ahmao Christians emerging from late 1970s. To further clarify the entanglement between bel canto and Ahmao Christians’ choral music, this paper argues that: their vocal transformation to bel canto is a mimic process along with the liturgical reconstruction since 1980s. This process elucidates how semiotic ideology shapes the transformation of worship music, and demonstrates how the choir serves as a crucial translator of such music. While emphasizing that Ahmao Christians do not aspire to cultivate a tradition of bel canto choral music, this paper also examines the ambiguous status of choral music in Ahmao Christianity, whose public presence has become contentious at the intersection of Church and State, as well as Christianity and their ethnic identity.