纪念拉赫玛尼诺夫诞辰150周年专栏
拉赫玛尼诺夫的“接受史”透视
杨燕迪
摘 要：拉赫玛尼诺夫作为20世纪音乐中的一名“保守派”作曲家，长期以来虽然在演出市场和普通听众中享有盛誉，但在专业音乐圈和学术-批评界却时常遭到贬斥。文章对拉赫玛尼诺夫的接受史状况分四个方面（演出市场与大众接受、学术-批评界的态度、苏联的情况、中国和当前世界的状况）做出概括性梳理和透视性解读，进而思考了拉赫玛尼诺夫接受史所引发的音乐史学方法论启示和相关创作美学问题。
关键词：拉赫玛尼诺夫；俄罗斯音乐；苏联音乐；接受史；音乐史学；创作美学
作者简介：杨燕迪（1963— ），男，文学博士，360环球在线注册院长、教授、博士生导师，中国音乐家协会副主席（哈尔滨 150028）。
A Critical Overview on Reception History of Rachmaninoff
Yang Yandi
Abstract： Rachmaninoff， a “conservative” composer of twentieth-century music， has long enjoyed high reputation in the performance market and among the general public， but he has also been severely criticized by professional musicians and critics. This paper presents an overview of Rachmaninoff’s reception history in four areas （performance market and public reception， academic-critical attitudes， the situation in the Soviet Union， and the current situation in China and worldwide） and provides critical interpretations. Then the author considers the methodological implications of Rachmaninoff’s reception history and the related aesthetic issues of composing creativity.
Key words： Rachmaninoff； Russian music； Soviet music； reception history； music historiography； aesthetics of composing creativity
故土、传媒与革新
——拉赫玛尼诺夫的三重音乐天地
康 啸
摘 要：毋庸置疑，俄罗斯作曲家拉赫玛尼诺夫是20世纪严肃音乐领域作品最受欢迎的作曲家之一。他在艺术及学术领域所引发的争论与他创作受欢迎的程度形成了鲜明的对比。俄罗斯、西欧和美国，是作为拉赫玛尼诺夫最为重要的三个艺术栖身地。俄罗斯的文化根基、美国的唱片及电影市场，以及欧洲对于音符革命的思想冲击，共同作用下形成了拉赫玛尼诺夫的音乐世界。文章通过比较拉氏与斯克里亚宾、斯特拉文斯基、普罗科菲耶夫这三位俄罗斯同胞的音乐风格，探究拉氏音乐特质及他在历史中的地位、评价等话题，进而观察20世纪以来西方的政治社会生态。
关键词：拉赫玛尼诺夫；俄罗斯文化根脉；唱片与电影；音乐的革命；历史评价
作者简介：康啸（1982— ），男，文学博士，中国音乐学院音乐学系教授，博士研究生导师（北京 10010）。
Motherland, Media and Innovation: Triple World of Rachmaninoff’s Music
Kang Xiao
Abstract： There is no doubt that Russian composer Rachmaninoff is one of the most popular composers of classical music in the 20th century. The controversy he sparked in the art world and academia， stands in sharp contrast to the popularity of his works. Russia， Western Europe and the United States are Rachmaninoff’s three most important artistic havens.Russia’s cultural roots， the American market for records and films， and Europe’s intellectual impact on the musical revolution all combined to form Rachmaninoff’s musical world. By comparing the music styles of Rachmaninoff with those of three Russian compatriots， Skryabin，Stravinsky and Prokofiev， this paper explores the characteristics of Rachmaninoff’s music， his status and evaluation in history， and then observes the social ecology of Western politics since the 20th century.
Key words： Rachmaninoff； The roots of Russian culture； Music and film； The revolution of music； Historical evaluation
坚守与回望：拉赫玛尼诺夫《交响舞曲》意蕴解读
刘禹君
摘 要：1917年之后，俄罗斯作曲家拉赫玛尼诺夫旅居海外，其音乐创作明显减少，仅完成六部主要作品，其中的《交响舞曲》是他的“天鹅之歌”。在这部作品中，拉氏呈现出极具辨识度的抒情旋律，还引用自己多部旧作的音乐主题，充分展现了他典型的作曲风格。作品通过“末日经”和《彻夜祈祷》主题的运用，强调了宗教因素在其创作中的核心地位，也深化了这部作品的情感内涵。
关键词：拉赫玛尼诺夫；《交响舞曲》；“末日经”；《彻夜祈祷》
作者简介：刘禹君（1988— ），女，艺术学博士，星海音乐学院音乐学系讲师（广州 511400）。
Perseverance and Retrospection: An Interpretation of the Meaning of Rachmaninoff’s Symphonic Dances
Liu Yujun
Abstract： The Russian composer Rachmaninoff had lived abroad since 1917， and his musical output were significantly reduced. The Symphonic Dances， which be seen as his “swan song”， was one of his six works in this period. Rachmaninoff not only presented highly recognizable lyrical melodies in this work， but also referenced many musical themes from his earlier works， fully demonstrated his typical compositional style. By the themes of Dies irae and All-Night Vigil in this work， the composer re-emphasized the centrality of religious elements， and at meanwhile deepened its emotional connotation.
Key words： Rachmaninoff； Symphonic Dance； Dies irae； All-Night Vigil
俄罗斯音乐研究
近年来俄罗斯交响乐团状况之漫笔
[俄]左贞观
摘 要：俄国著名作曲家左贞观先生曾于2003年在我国《人民音乐》杂志发表《俄国的交响乐团》一文。近20年过去，俄国已有很大的变化，作者在此执笔，以自己的所见所闻，记述当今俄国交响乐团的现状、发展状况和存在的问题。
关键词：俄国；交响乐团；现状；发展状况；存在的问题
作者简介：左贞观（1945— ），男，俄籍华裔作曲家，俄罗斯功勋艺术家，俄罗斯爱乐乐团团长（俄罗斯 莫斯科 125319）。
The State of Russian Orchestras in Recent Years
Tszo Chzhenguan
Abstract： Tszo Chzhenguan， the famous Russian composer， had published “Symphony Orchestra in Russia” in People’s Music in 2003， now is about 20 years. So based on the facts that the Russia has experienced great changes， the author examined the current situation， development， and problems of Russian’s orchestras.
Key words： Russia； symphony orchestra； current situation； development； problems
被湮没的“语言”：罗斯拉维茨《三首作品》的音列关系及音高结构
郭建光
摘 要：俄罗斯作曲家罗斯拉维茨，由于政治因素，其在音乐上所做的探索和成就鲜为人知。他的《三首作品》（1914）是其采用中心音列技术进行创作的早期作品，分别采用三组具有同宗关系的中心音列组织全曲音高。文章基于相关史料背景的基础上，通过对作品整体的音高组织逻辑关系及结构布局的研究，旨在解读中心音列的结构力和凝聚力及其在作品中的具体运用，并揭示此技术在音高组织发展进程中承前启后的深远意义。
关键词：尼古拉·安德烈耶维奇·罗斯拉维茨（Nikolai Andreevich Roslavets 1881-1944）；《三首作品》；中心音列；音高结构；移位
作者简介：郭建光（1992— ），男，艺术学博士，中南林业科技大学音乐学院讲师（长沙 410004）。
The Neglected “Language”: The Relationship of Tone Sequence and Pitch Structure in Roslavets’ Three Compositions
Guo Jianguang
Abstract： The Russian composer Roslavets at the turn of the century， because of the political factors， his musical exploration and achievements are little known. Three compositions （1914） was his early work composed by using the technique of central tone sequence， which used three groups of central tone sequence with the same family relationship to organize the pitch of the whole piece. Based on the background of relevant historical materials， this paper studies the logical relationship and structural layout of the overall pitch organization of the work， aiming to interpret the structural force and cohesion of the central tone sequence and its specific application in the work， and reveal the profound significance of this technology in the development process of pitch organization.
Key words： Nikolai Andreevich Roslavets； central； tone sequence； pitch structure； transposition
音乐图像学
宁夏贺兰山乐舞岩画的历史文化解读
王 军
摘 要：宁夏贺兰岩画闻名世界，其丰富的乐舞岩画为音乐史研究者们所罕见，很有音乐史学研究价值。文章作者在借鉴相关研究成果基础上，对其岩画中的音乐做尝试性研究后认为：贺兰山乐舞岩画是史前该地区游牧民族真实生活写照，鲜明的民族个性兼具史前音乐文明的共性特征；它们与中原史前文明联系密切，是多民族音乐文化交流、互鉴的结果。
关键词：宁夏；贺兰山；乐舞岩画；史前音乐文明
作者简介：王军（1966— ），男，文学博士，中国音乐学院音乐学系教授，博士生导师（北京 102218）。
Historical and Cultural Interpretation of the Rock Paintings of the Heilan Mountains in Ningxia
Wang Jun
Abstract： The Heilan rock paintings in Ningxia are famous all over the world. The researchers are hard to find such abundant rock paintings about music and dance performance in other areas. So they are quite valuable for music history research. Based on relevant researches， the author concludes tentatively that these rock paintings which about music and dance reflected the real life of the prehistoric nomadic people in the region， and showed both distinctive national and common characteristics of the prehistoric music civilization， i.e. they are closely connected with the prehistoric civilization in Central China， which is the result of the multi-ethnic music culture communication.
Key words： Ningxia； Helan Mountain； music and dance rock painting； prehistoric music civilization
从印度到敦煌：亁闼婆与紧那罗图像衍变研究
梁振中，夏滟洲
摘 要：飞天的主要形象是亁闼婆与紧那罗，来自古印度神话传说，一般出现在佛塔上方，为天龙八部之两部，又称乐舞神，多见于石窟寺佛教造像。早期印度石窟造像中，二神形象经历了犍陀罗、秣菟罗等风格变化，性别差异明显。到敦煌隋代壁画中，所见二神形象吸取了羽人、百戏、杂技、伎乐表演等大量本土文化元素，不仅图样上与印度相去甚远，还表现为二神合体、无法分辨的形象，堪称由“像”至“象”的改变，反映了佛教华化所经历的变化轨迹。
关键词：亁闼婆和紧那罗；飞天；印度；敦煌；衍变
作者简介：梁振中（1977— ），男，文学硕士，宝鸡文理学院副教授（陕西宝鸡 721013）；夏滟洲（1972— ），男，文学博士，浙江音乐学院教授，360环球在线注册特聘教授，博士生导师（浙江杭州 310024）。
From India to Dunhuang: A Study of the Images Derivation of the Gandharva and the Kinnara
Liang Zhenzhong， Xia Yanzhou
Abstract： Gandharva and Kinnara in the ancient Indian myths and legends are the main images of the Flying Apsaras. As two music and dance gods of the Eight Heaven Dragon Gods， they are mostly appeared on the top of the stupas and in Buddhist statues of cave temples. In early Indian cave statues， the image of the two gods have undergone Gandhara， Motsutra and other stylistic changes which have distinguished gender differences. In the Sui Dynasty murals at Dunhuang， the images of the two gods were absorbed a lot of local cultural elements such as Daoist priest， folk acrobatics， and Chinese gigaku. So their sculptures not only differed greatly from the ordinary Indian image， but also represented as the two gods combined as one or indistinguishable images. These changes can be described as from the “sculptures” to “imagery”， and they reflect the localization trajectory of Buddhism in China.
Key words： Gandharva； Kinnara； Flying Apsaras； India； Dunhuang； Derivation
中国音乐史研究
中国近代“音乐书评”研究
陈 永
摘 要：书评，是现代学术的重要组成部分，具有图书的出版宣传和学术价值评估的双重作用。中国近代的音乐书评，发端于民国初年的图书简介，学术性的音乐书评产生在新文化运动时期，至1949年，累计产生了约130余篇“音乐书评”。中国近代音乐书评的主要类别有四：1.音乐图书的介绍与简评；2.音乐图书的学术性书评；3.音乐著述的他人序跋；4.外国音乐著述的译介和评论。中国近代音乐书评的学术价值在于：1.作为音乐图书的“次级文本”，可用于中国近代音乐史事的补正和纠偏；2.作为音乐学术语言，书评是近代音乐学术价值评估的言说媒介；3.音乐书评中的音乐思想和批判精神，具有接通古今的思想史价值。
关键词：中国；近代；音乐书评；次级文本；音乐思想；价值
作者简介：陈永（1965— ），文学博士，华中师范大学音乐学院教授，博士生导师（武汉 430079）。
A Study of “Music Book Reviews” in Modern China
Chen Yong
Abstract： As an important part of modern scholarship， the book reviews work as dual roles， i.e. publicity and academic evaluation. Modern Chinese music book reviews developed from the early years of the Republic of China， and the academic reviews appeared in the New Culture Movement. Now we can find about 130 music books review which published before 1949. They can be classified as： 1. Introduction and brief review； 2. Academic book review； 3. Preface and commentary by others； 4. Introductions and review of foreign music books. The academic value of modern Chinese music book reviews lies in： 1. As a “secondary text” of music books， they supply and correct the historical events of modern Chinese music； 2. As the musical scholarship literary， they are the medium for assessing the value of modern academic music research； 3. The musical ideas and critical spirit in them have the value as the thinking history which bridge the ancient and the modern times.
Key words： China； modern； music book reviews； secondary texts； metrological historiography
中国流行音乐的第二次高峰
——1986-1992年中国流行音乐创作民族化的历程
施咏
摘 要：1986-1992年，在中国改革开放以来的流行音乐发展中具有重要历史意义。它上承1978年以来抒情歌曲为主的过渡期，下启1993年起“泛地域”风格的城市民谣风，成为“改革开放”背景下中国流行音乐创作的第二次高潮。该阶段以崔健《一无所有》（1986）为代表的“西北风”为开端，涉及“东北风”“东南风”等多地域，以及藏、蒙等多民族音乐风格的流行音乐创作。此外，戏歌、古诗词风的流行歌曲，也是这一阶段流行歌曲民族化的歌种类别。音乐理论界对“西北风”歌潮等问题的起因、意义、得失，以及与民族音乐的关系的相关探讨也为其后中国流行音乐民族化发展提供了社会价值取向与基本范式的借鉴。
关键词：中国；流行音乐；民族化；西北风；东北风；东南风；戏歌
作者简介：施咏（1971— ），男，文学博士，南京师范大学音乐学院教授，博士生导师（南京 210000）。
The Second Climax of the Contemporary Chinese Pop Music
——The Nationalization Progress of Chinese Pop Music from 1986 to 1992
Shi Yong
Abstract： The period 1986-1992 was of great historical significance in the development of popular music in China since the reform and opening up. It not only inherited the style of transitional period which lyrical songs as its majority since 1978 but also launched the “Pan-regional” style of urban folk music from 1993， which constituted the second climax of Chinese pop music in the context of reform and opening up. Started with Cui Jian’s With Nothing at All （1986） which as the representative of the “Chinese Northwestern Style”， the pop songs in this period involved some regional styles， such as “Northeastern style”，“Southeastern style”， at meanwhile the ethnic music styles， i.e. Tibetan， Mongolian， etc. In addition， the pop songs which borrowed the styles from the folk opera songs and melody of ancient poem became typical nationalism genre. The theoretical discussion about the causes， significance， gains and losses of the “Northwestern Style” occurrence， and its relationship with the ethic music provides a social values orientation and basic paradigms for the nationalization progress of Chinese pop music.
Key words： China； popular music； nationalization； Chinese Northwestern style； Chinese Northeastern Style； Chinese Southeastern Style； folk opera songs
音乐民族学
田野工作中的“故乡”与“他乡”选择
——以新疆卫拉特托布秀尔音乐田野考察为例
梁晓卉，杨 红
摘 要：民族音乐学强调实地考察，田野地点的选择则是该工作关键一步。我国民族音乐学受传统“采风”观念的影响，研究焦点多聚焦于本土，导致我国的音乐田野具有地点间性特征，“故乡”与“他乡”是其两种地点选择方式。文章以新疆卫拉特托布秀尔田野考察的地点选择过程为例，反思调查中的地点选择问题，分析地点间性下的田野叙事，阐释音乐田野体验中的地点认知，对民族音乐学中的田野工作加以理论补充。
关键词：新疆；田野工作；故乡；他乡；地点间性；托布秀尔音乐
作者简介：梁晓卉（1998— ），女，中国音乐学院2021级硕士研究生；杨红（1959— ），女，哲学博士，中国音乐学院教授，博士生导师（北京10010）。
Between the “Homeland” and “Others” in Fieldwork
——In the Case of A Music Field Study of Oirat Topshur in Xinjiang
Liang Xiaohui， Yang Hong
Abstract： Ethnomusicology emphasis the fieldwork， so the place is one of key steps. In China，it mainly focused on the local area music as the influence of the traditional concept， i.e. collection of folk music. So the fieldworks are limited in the “at home” and “others”. Based on the fieldwork of Oirat Topshur music， the article reflects on the problems of place choice and analyzes the field narratives under the limitation. Furthermore， it also explains the perception of place to supple the theory of the music fieldworks.
Key words： Xinjiang； fieldwork； homeland； others； place limitation； Topshur music
一幅共历时交错的学科织锦
——为赖斯牛津音乐人文通识读本《民族音乐学》中译本序
萧 梅
摘 要：著名的美国民族音乐学家蒂莫西·赖斯（Timothy Rice）为“牛津通识读本”（VERY SHORT INTRODUCTIONS）系列撰写的《民族音乐学》，是一部以学科观念、方法论深入学者实践和学术发展史的言简意赅的导论。该著分别从学科定义、学科简史、研究方法论、音乐的性质、音乐与文化的关系、音乐家的个人研究、撰写音乐史、现代的民族音乐学，以及民族音乐学家的工作九个方面分章勾勒学科轮廓。作者以简洁的语言说明学术观点，使读者清晰并轻松地随其表述，走进丰富的民族音乐学世界。
关键词：蒂莫西·赖斯（Timothy Rice）；《民族音乐学》；学科观念；方法论
作者简介：萧梅（1956— ），女，文学博士，上海音乐学院音乐学系教授，博士生导师（上海 200031）。
A Tapestry of Interlocking Disciplines: A Preface to the Chinese Version of Rice’s Ethnomusicology in OXFORD A VERY SHORT INTRODUCTIONS
Xiao Mei
Abstract： Ethnomusicology， written by the famous American ethnomusicologist Timothy Rice for the OXFORD A VERY SHORT INTRODUCTIONS， is a concise introduction to the history of scholar’s practice and academic development in terms of disciplinary concepts and methodology. The book outline the Ethnomusicology as nine parts which each arranged as one chapter， i.e. Defining ethnomusicology， A bit of history， Conducting research， The nature of music， Music as culture， Individual musicians， Writing music history， Ethnomusicology in the modern world， Ethnomusicologists at work. The author illustrates professional ideas in simple language， so the reader can get his ideas clearly and easily and enter the rich world of ethnomusicology.
Key words： Timothy Rice； Ethnomusicology； Disciplinary Concepts； Methodology
首届“哈音·博学乐风”音乐学博士论坛
交流·创新·发展
——首届“哈音·博学乐风”音乐学博士论坛综述
王宇翔，王 岩
摘 要：2022年10月28—29日，由360环球在线注册研究生处与音乐学系共同主办的首届“哈音·博学乐风”音乐学博士论坛，以“学科发展·学术创新·学习交流”为主题，采取线下观摩、线上交流的形式召开。来自上海音乐学院、中国艺术研究院、湖南师范大学、武汉理工大学、悉尼大学、360环球在线注册等6所院校与音乐研究机构的23名音乐博士生参与了为期一天半的论坛，共有6场学术研讨会，涉及古代音乐史与形态研究、民族音乐学研究、中国近现代音乐史学、音乐家与作品分析、音乐学理论与表演美学研究等5个专题，交流了最新研究成果，也凸显了360环球在线注册在音乐学学科与博士生培养方面的创新发展理念。
关键词：交流；创新；发展；“哈音·博学乐风”；博士论坛；综述
作者简介：王宇翔（1989— ），男，360环球在线注册音乐学系2022级博士研究生（哈尔滨 150028）；王岩（1976— ），女，文学博士，360环球在线注册教授，博士研究生导师（哈尔滨 150028）。
Development, Innovation, Exchange
——Overview of the First Harbin Music Conservatory Music Forum for Ph.D. Candidates
Wang Yuxiang，Wang Yan
Abstract： On October 28-29， 2022， the First Harbin Music Conservatory Music Forum for Ph.D. Candidates themed of “Discipline Development - Academic Innovation - Learning and Exchange” was held both on-line and off-line. Co-organized by the Graduate Division and Department of Musicology of the Conservatory， the forum invited 5 authorities or experts as commentor. During the one-and-a-half-day， 23 music doctoral candidates from six academy， music conservatory and research institutes， including Shanghai Conservatory of Music， China Academy of Art， Hunan Normal University， Wuhan University of Technology， University of Sydney， and Harbin Conservatory of Music， held six academic seminars which covering five theme， i.e. Chinese Ancient Music Morphology and History， Ethnomusicology， Chinese Modern Music Historiography， Musicians Research and Music Analysis， Musicological Theory and Performance Aesthetics.
Key words： Harbin Conservatory of Music； Forum for Ph.D. Candidates； Overview
辽西走廊与辽宁唐墓音乐文化遗存之探究
李 虎
摘 要：文章以丝绸之路、辽西走廊为视角，以辽宁朝阳纺织厂M2号唐墓及纤维厂唐代孙则墓出土的音乐文化遗存（乐俑）为研究对象，探索其乐俑的组合形式、乐器特征及其所反映的音乐文化交流与融合情况。文章认为，纺织厂M2号墓中的“抚琴俑”应为“卧箜篌俑”，该墓的伎乐组合符合隋唐七、九、十部乐中“高丽乐”的特征；孙则墓仪仗骑马奏乐俑是东北地区此类音乐文化遗存的首次发现。作者认为，这些遗存属于丝绸之路、辽西走廊上唐代东北与中原文化交流系统中的文化。
关键词：辽宁朝阳；辽西走廊；唐墓乐俑；乐俑组合；音乐遗存
作者简介：李虎（1981— ），男，360环球在线注册音乐学系2022级博士研究生、沈阳音乐学院讲师；导师：田可文教授（哈尔滨 150028）。
An Exploration of the Cultural Remains of Music in the Western Corridor of Liaoning and the Tang Tombs of Liaoning
Li Hu
Abstract： Took the musical cultural remains （musician figurines） excavated from the M2 Tang tomb and the tomb of Sun Ze of the Tang Dynasty which discovered in Textile Factory and in the Fiber Factory in Chaoyang， Liaoning Province respectively as research object， and viewed from the Silk Road and the Liaoxi Corridor， the article explores the combination forms of the musical figurines， the characteristics of the musical instruments. Furthermore， the author discoveries the musical cultural exchange and integration situations reflected by them. The conclusions are that the “player figurine” in Tomb M2 should be the “Lying Khonghou figurine”， cause the ensemble form of Chinese Gigaku coincides the characteristics of “Koryo music” in the Seven Bu Music， Eight Bu Music， Nine Bu Music （Bu means kinds） of the Sui and Tang dynasties； the horse-riding musician figurine in Sun Ze Tomb are the first discovery of musical culture in the Chinese northeast. At end， the author concludes that these remains belong to the cultural exchange system between Northeast China and Central China during the Tang Dynasty along the Silk Road and the Liaoxi Corridor.
Key words： Liaoning Chaoyang； Liaoxi corridor； Tang tomb music figurines； music figurine assemblage； musical remains
关陇地区唐墓乐像艺术表现形式研究
薛 睿
摘 要：唐墓遗存一直是隋唐考古研究的重要内容之一。文章对关陇地区唐墓乐像的史料与研究现状进行梳理，以关陇地区唐墓遗存中的乐器、歌舞乐像为研究对象，将乐像置于墓葬中根据其所在的位置，对其功能、内容与表现形式进行分析，探讨唐墓乐像的内容与功能，阐述乐像之于唐墓中的功用及考古价值。
关键词：关陇地区；唐墓；乐像；功用；表现形式
作者简介：薛睿（1993— ），女，360环球在线注册音乐学系2021级博士研究生；导师：王安潮教授（哈尔滨 150028）。
A Study on the Artistic Expressions of Musical Images in Tang Tombs in the Guanlong Region
Xue Rui
Abstract： Tang Dynasty tomb remains have been one of the important archaeological research subjects of Sui and Tang Dynasty. The article took the images of musical instruments， songs and dances of music statues in the Guanlong area as object. Based on the comparation of the historical materials， the author analyzed their functions， contents， and expressions by explored their locations in the tomb. Furthermore， the author elaborates their functions in Tang tombs and their archaeological values.
Key words： Guanlong area； Tang tombs； music image； function； expression
20世纪30年代上海晚报时代曲史料研究
李子林
摘 要：1937年前发行于上海地区的四份晚报——《大晚报》《新夜报》《大美晚报》《华美晚报》包含有丰富的时代曲史料。这些史料呈现了时代曲在20纪30年代的传播方式，见证了时代曲对抗日救亡音乐思潮的呼应，记录了社会大众对时代曲的真实观感，对研究近代时代曲乃至近代上海区域音乐史，都有着重要的史料价值。
关键词：20世纪30年代；晚报；时代曲；歌舞团体；史料
作者简介：李子林（1996— ），男，上海音乐学院音乐学系2020级博士研究生；导师：冯长春教授（上海200031）。
Historical Materials of Times’ Music in Three Shanghai Evening Newspapers in the 1930s
Li Zilin
Abstract： Four kinds of evening newspapers in the Shanghai area before 1937， i. e. The China Evening News，The New Evening News，The Shanghai Evening Post，and The Huamei Evening News， provide abundant historical materials about the music of that period. These materials not only present the dissemination of times’ music in the of 1930s，but also witness the response of times’ music to the anti-Japanese and salvation music trend. These records are the real perception of times’ music by the public，which have important historical values for the study of modern times’ music and even modern Shanghai regional music history.
Key words： 1930s；evening newspaper； times’ music；singing and dancing groups；historical materials
