我们这些“文化人”应该做的,就是将传统与现代“接通”。我们Z与老艺人之间应该是互为主客位的,也是互为局内外的。换言之,我I们站在传统的门外边,老艺人们站在传统的门里边,我们只有走进门去,才能够真正认识传统,否则一切只能是隔靴搔痒。I 如果说,工十世纪五六十年代时,有将民间艺人请进院校的壮举,部分传统乐曲得以传承,半个世纪之后,当我们又一次将优秀民.间艺人请进大学讲堂,其意义更加深远,这是在重新认识传统:虽然传统的文化生态遭到相当程度的毁坏,但传统依然延续。若不如此,为什么我们的十大集成志书工程会收集到如此浩繁的活的资料呢?究竟传统是怎样延续的,难道不值得我们去认真调查、研究、思考吗?; 凡参加了工尺谱学唱联的师生们共同的感受就是“获益匪浅”。这不仅仅是一次与传统文化的亲密接触,更重要的是能够引发大家对传统的认识与思毛 What we “cultural people” should do is “turn on” the tradition and the modern. We Z and the old artists should be the main guest of each other, but also each other both inside and outside. In other words, I stand outside the traditional door, where old entertainers stand inside the traditional door. Only by going in, can we truly understand the tradition, otherwise everything can only be tickled. If I say that in the 1950s and 1960s, there was a feat for inviting folk artists to colleges and universities and some of the traditional pieces of music could be inherited. After half a century, when we once again invited outstanding artists and artists to university lectures, Its significance is even more profound. This is a re-understanding of the tradition: although the traditional cultural ecology has been destroyed to a considerable extent, the tradition still continues. If not, why do we integrate so many of the Top Ten Zhizhi Zhilian live so much information? After all, how is the continuation of the tradition, is it not worth us to seriously investigate, research, thinking it? The common feeling of students and students in spectrum singing is “benefit a lot.” This is not only a close contact with the traditional culture, more importantly, it can lead to everyone’s understanding of traditional thinking and thinking