中俄音乐交流与俄罗斯音乐研究
北亚鼓圈
——中俄萨满响器谱系研究的两个“半圆”
刘桂腾
摘 要：19世纪末至20世纪初，北亚鼓圈渐成为国际萨满文化研究的“热圈”。而当黑龙江／阿穆尔河成为中俄两国界河时，这个鼓圈也随之分为两个“半圆”。文章将中国萨满音乐的田野考察成果与俄罗斯民族学文献相勾连，并与欧洲博物馆发现的北亚萨满文物交集互文，通过个案描述与比较，追溯萨满鼓的文化原型，为完整的北亚萨满响器谱系建构打下基础，进而促进世界三大萨满鼓圈的比较研究——书写一部完整的萨满鼓生命史。
关键词：北亚鼓圈；响器谱系；萨满鼓；泰加林型；黑龙江型；文化原型
作者简介：刘桂腾（1955—），男，上海音乐学院特聘教授（上海 200031）。
North Asian Drum Circle
——Two “Semicircles” of the Shamanic Percussion Instruments Genealogical Study in Russia and China
Liu Guiteng
Abstract： From the late 19th century to the early 20th century， the North Asian drum circle gradually became the “hot circle” of international shamanic culture research. When the Heilongjiang/Amur River became the border river between China and Russia， this drum circle was divided into two “semicircles”. The article not only connects the Chinese shaman music field research results with Russian ethnographic literature，but also intertextualizes the North Asian shamanic artifacts found in European museums. Tracing the cultural prototype of shamanic drums through the case descriptions and comparisons， the article established the foundation for the complete genealogy of North Asian shamanic instruments， in order to promote the comparative study of the three shamanic drum circles in the world， what for the purpose that to write a complete life history of shaman drums.
Key words： North Asian drum circle； percussion instruments genealogy； Shaman drum； Taigalin type； Heilongjiang type； cultural prototype
埃什派交响音乐创作及其融合性探究
彭 程
摘 要：埃什派是20-21世纪杰出的苏联-俄罗斯作曲家，创作有9部交响曲、19部乐队协奏曲及大量标题性乐队作品。其交响音乐创作经历了“成熟”“再探索”“再成熟”3个阶段。埃什派交响作品的创作思想中“现实主义”与现代主义的融合，体裁与结构中诗意与戏剧性的融合，音高组织中多元文化象征的融合，民族音乐语言与欧洲器乐性的融合构成了多维度的融合性特征。
关键词：埃什派；苏-俄；交响乐，现代音乐，折衷主义；融合性
作者简介：彭程（1974—），男，艺术学博士，上海音乐学院音乐艺术研究院研究员（上海 200031）。
Exploring A. Eshpai Symphonic Composition and Its Fusion
Peng Cheng
Abstract： A. Eshpai，an outstanding Soviet-Russian composer in the 20th and 21st centuries，composed 9 symphonies，19 concertos and many program music for orchestra. He has gone through three periods in his creative route： maturity， re-exploration， and re-maturity. He not only integrated the “realism”and modernism， but also combined the poetic quality of the genre and structure with dramatic property. Above these， the presentation of different cultural symbols with the pitch organization and coalescence of national music language and European instrumental music character constituted his multi-fusion characteristic.
Key words： Eshpai； Soviet-Russian； symphonic music； eclecticism； fusion
19世纪下半叶至20世纪初俄罗斯音乐中的中国
Ю·П·梅德韦杰娃 著；王 辉 译
摘 要：文章论述19世纪下半叶与20世纪初俄罗斯音乐中的“中国形象”。俄罗斯音乐中的中国形象是当时时代、政治与社会的反映。起初，“中国形象”作为概括性且充满童话色彩的东方异国情调来引用，后越来越多以现实性与真实性的音乐风格使用。再后来，在苏联意识形态的影响下，作曲家对中国的认知发生了明显的转化。在俄罗斯音乐中，“中国形象”从浪漫的异国情调，走向了无产阶级国际主义的表现。
关键词：俄罗斯音乐；中国形象；异国情调；苏联意识形态；国际主义
译者简介：王辉（1980—），女，360环球在线注册国际合作与交流处处长、副教授、硕士生导师（哈尔滨 150028）。
China in Russian Music of the Second Half of the 19th to Early 20th Centuries
Medvedeva Yu.P.， trans. by Wang Hui
Abstract： This article discusses the “image of China” in Russian music in the second half of the 19th century and the beginning of the 20th century. The image of China in Russian music is a reflection of the times， politics and society at that time. At first， the “image of China” was quoted as a general and fairy-tale oriental exoticism （such as Guy）， and later it was applied in more and more realistic and authentic music styles（such as Tchaikovsky and Sri LankaTravinsky’s works）. Later， under the influence of Soviet ideology， composers’ perception of China has undergone a significant transformation （such as Greer）. In Russian music， the “image of China” has changed from romantic exoticism to the manifestation of proletarian internationalism.
Key words： Russian music； image of China； exoticism； Soviet ideology； internationalism
音乐史学研究
音乐手稿搜集与典藏的学术意义
田可文
摘 要：手稿是指作者亲手书写在纸张、竹简或者布帛之上的字迹原稿，包括信件、文件、书稿等。作曲家的手稿主要包括作曲家书写的乐谱，也应包括其信札、日记等，其是作曲家创作思维的微妙体现与性情流露。文章论及搜集与典藏作曲家手稿的价值、手稿研究的意义、手稿的搜集、搜集的主体单位、版权法律、手稿的学术意义等一系列问题。
关键词：音乐作品；手稿；典藏；价值；法律问题；学术意义
作者简介：田可文（1955—），男，360环球在线注册特聘教授、《北方音乐》常务副主编，武汉音乐学院音乐学系教授、博士生导师，安徽大学讲席教授，广西艺术学院兼职教授（哈尔滨 150028）。
The Academic Significance of Music Manuscripts Discovery and Collection
Tian Kewen
Abstract： Manuscript refers to the script written on paper， bamboo slips or cloth by the author oneself， including letters， documents， completed manuscripts， etc. The manuscript of the composers mainly includes the music score， and also one’s letter， diary， etc. They reveal the composer’s subtle creative ideas and temperament. The article discusses the issues such as the discovery method and collection value of composer manuscript， the importance of manuscript research and its academic significance， the main collector， copyright laws， etc.
Key words： musical works； manuscripts； collection； value； legal issues； academic significance
五弦与击筑
陇 菲
摘 要：曾侯乙墓出土之五弦之琴，即先秦别称之为“筑”的复弦乐器。筑是战国末年新兴弦琴。文章考证：先秦弦琴击筑，当是上古匏琴与竹胴琴之综合、音量细弱、弦距狭窄、一弦多音、以左手扼之、右手持竹尺击之、兼击五弦的调律之器。
关键词：五弦；筑；调律器
作者简介：陇菲（牛龙菲）（1945—），男，文化学家、音乐学家（河北固安 065500）。
Wuxian and Jizhu [Five strings zither and Zhu zither in Ancient China]
Long Fei
Abstract： The five-stringed zither， unearthed from the tomb of Zeng Houyi， was made in the pre-Qin period， named Zhu， or Jizhu called popularily， used as a tuner， which was an instrument with multiple strings with weak volume. It was a new stringed instrument in the late Warring States period. The article shows that the Zhu is a combination of ancient Pao-chin （a single stringed zither） and Zhutong-chin （a bamboo zither）， whose strings are narrowly spaced and one string makes multiple notes. The performer would typically hold its neck with his left hand and strike on different parts of the strings with something like a bamboo ruler in the right hand so as to choose notes for a tune.
Key words： five-string zither， Zhu； testimony
C.P.E.巴赫与贝多芬：歌曲《Bitten》“抄袭”的互文性解读
陈 海
摘 要：德国诗人盖勒特于1757年创作了诗集《宗教颂歌与利德》。C.P.E.巴赫根据全部诗集谱写了歌曲集（H.686），贝多芬也根据其中的6首诗谱写了歌曲集（OP.48）。20世纪80年代以来，西方学者对两位作曲家的作品进行大量的比较研究，其观点认为“两部作品存在极度相似性（尤其是歌曲《Bitten》），贝多芬或多或少地借鉴了前辈的作品”，这导致较多人对贝多芬“抄袭”巴赫作品观点的认同。文章在此问题上以“互文性”观点来解读两个文本存在着历时性的互文关系：贝多芬的“后文本”对“前文本”的借鉴、模仿抑或引用；“后文本”在此基础上做出较大的改变与拓展。从文化层面上阐述了贝多芬对C.P.E.巴赫作品的继承与发展。
关键词：C.P.E.巴赫；贝多芬；歌曲；Bitten；“抄袭”；互文性
作者简介：陈海（1990—）男，艺术学硕士，武汉音乐学院演艺学院教师（武汉 430060）。
C.P.E. Bach and Beethoven: An Intertextual Interpretation of the “Plagiarism” of Bitten
Chen Hai
Abstract： German poet Gellert published his poems collections Geistliche Oden und Lieder ［Spiritual Odes and Lied］ in 1757. And then， C.P.E. Bach composed with all the poems （H.686） and Beethoven compose Lied （Op.48） with 6 poems of it. Since the 1980s， numerous comparative studies of the two composers’ works appeared in western world， a common view is that their works are quite similar， especially the Bitten. Beethoven somehow borrowed from the Bach’s， so that there is common view that Beethoven “copied” Bach’s work. Based on the situation， the author takes the intertextuality approach to explain the intertextual relationship between the two diachronic texts， in order to point out that the “post-text” of Beethoven’s work not only borrows， imitates， or quotes from the “pre-text”， but also make changes and expands the front one. So as to discuss how Beethoven inherit and develop C.P.E. Bach’s works in the cultural aspects.
Key words： C.P.E. Bach； Beethoven； song； Bitten； “copying”； intertextuality
中国当代音乐研究
新时期以来中国流行音乐的四个历史瞬间
项筱刚
摘 要：文章回顾了1978年改革开放以来中国流行音乐的四个历史瞬间，试图诠释形成这四个历史瞬间的原因及其特征，并进而探讨其对之后中国流行音乐发展的影响。
关键词：中国大陆；流行音乐；中国香港；中国台湾
作者简介：项筱刚（1972—），男，文学博士，中央音乐学院音乐学研究所研究员（北京 100031）。
Four Historical Moments of Chinese Pop Music since the New Era
Xiang Xiaogang
Abstract： Reviewed four historical moments of Chinese popular music since the reform and opening up of China in 1978， the author attempts to explain the causes and characteristics of these four historical moments， and then explores their influence on the subsequent development of Chinese popular music.
Key words： Mainland China； pop music； Hong Kong， China； Taiwan， China
意象涵双璧 文心观古今
——试评贾达群的声乐套曲《秋兴八首》
伍维曦
摘 要：贾达群教授于2020年创作的为男中音和钢琴而作的声乐套曲《秋兴八首》，是依据杜甫《秋兴》组诗文本写作的音乐作品。这部作品不仅创造性地运用诗歌文本中的艺术形象与文化内涵，也具有音乐语言、风格与体裁上的独创性，体现出中国当代作曲家对“艺术歌曲套曲”这源自欧洲浪漫主义音乐与文学语境的独到理解。文章从文学-音乐作品文本出发，论及对《秋兴》套曲这一“音乐文学-综合体”的理解，并试图描述基于这种“互文性”理解的心理过程。
关键词：贾达群；声乐套曲《秋兴八首》；意象；“音乐文学-综合体”；互文性
作者简介：伍维曦（1979—），男，文学博士，上海音乐学院教授、科研处处长、音乐艺术研究院常务副院长（上海 200031）。
A Review of Jia Daqun’s Eight Songs on Reflections in Autumn, cycle for baritone and piano
Wu Weixi
Abstract： Professor Jia Daqun composed his Eight Songs on Reflections in Autumn， cycle for baritone and piano in 2020， which selected Du Fu’s poem Reflections in Autumn as its lyric. This work not only creatively uses the imagery and cultural connotations of the poem， but also has originality in musical language， style and genre. The work reflects a contemporary Chinese composer’s original view of the art song cycle， which from the context of European Romantic musical and literary. Explored the text both of literary and music， the author shows his understanding of the cycle which as a “music-literature-synthesis”， and then tries to describe the psychological process based on this “intertextual” understanding.
Key words： Jia Daqun； Eight Songs on Reflections in Autumn； imagery； music-literature-synthesis； intertextuality
中国传统音乐研究
台湾彰化孔庙释奠乐的建构与递嬗
蔡秉衡
摘 要：彰化孔庙建于清代雍正4年（1726年），其释奠乐仪节的使用至少在嘉庆16年（1811年）已初具规模，其时广招佾生教以歌舞仪节。到光绪21年（1895年）台湾进入日本殖民统治时期，此时释奠乐所使用的乐生多由北管音乐团体“梨春园”所担任，演奏采用传统释奠乐谱，所用乐器多为北管音乐的传统乐器与部分祭孔乐器，此传统沿袭了一百余年。文章以文献史料与田野调查的研究方法，来探析台湾彰化孔庙释奠乐的“双雅传统”。
关键词：台湾彰化孔庙；释奠乐；北管；梨春园；双雅传统
作者简介：蔡秉衡（1967—），男，文学博士，台湾艺术大学中国音乐学系主任、教授、博士生导师（台湾新北 220307）。
The Construction and Transition of Shi-Dian Ritual Music at the Confucius Temple in Zhanghua, Taiwan
Cai Bingheng
Abstract： The Confucius Temple in Zhanghua was built in 1726， the 4th year of the Yongzheng era of the Qing dynasty. And the Shi-Dian ritual music of it had already taken shape at least in 1811， at meanwhile You-Sheng Artists were widely recruited and taught the rituals of song and dance. By 1895， the 21st year of the Guangxu era， when Taiwan was colonized by Japan， the Yue-Sheng Artists in the Shi-Dian music ritual were mostly performed by the Bei-Guan strings and bamboo-wind music group “Li-Chun-Yuan”， which used the traditional Shi-Dian music score. The music instruments are mostly traditional instruments of Bei-Guan music group and some of Confucius memorial ceremony， and this tradition was continued for more than 100 years. Based on the research method of documentary history and field survey，the article explores the“double elegant music tradition” of the Shi-Dian music of the Confucius Temple in Zhanghua，Taiwan.
Key words： Confucius Temple in Zhanghua， Taiwan； Shi-Dian ritual music； Northern Pipe； Li-Chun-Yuan； Double Elegance Music Tradition
元曲【朝天子】考述
李 强，李 莉
摘 要：元曲【朝天子】是一首曲体成熟、应用广泛的曲牌，通过考察可得三点认识：一、元曲【朝天子】并非来自宋词调《朝天子》，而渊源于宋代舞队节目《诸国献宝》《穿心国入贡》等艺术形式；二、其宫调、句法、格律等表现稳定：中吕宫，单片，11句仄韵，三段体。这种体制在清代曲谱中仍然严格保持，展现传统音乐传承脉络；三、带过曲【快活三带朝天子】源于元杂剧的“摘调”，这为散曲是从杂剧中派生而来观点，提供了有力证据。对元曲【朝天子】的探讨，是理解宋元“词曲递变”的可靠参照，为曲牌体音乐“一曲多变”的历史规律提供了指向。
关键词：【朝天子】；宋代舞队；【快活三】；“带过曲”；“摘调”
作者简介：李强（1985—），男，中国艺术研究院2020级在读博士生，湖南理工学院音乐学院讲师（北京100030）；李莉（1976—），女，艺术学博士、武汉音乐学院音乐学系教授，博士生导师（武汉430060）。
An Textual Research and Critical Investigation of Yuan Song
Li Qiang， Li Li
Abstract： The widely used Chaotianzi is a mature Qupai of Yuanqu（a type of verse for singing， which emerged in the Southern Song and Jin Dynasties and became popular in the Yuan Dynasty） Based on the comprehensive examination， there are three new points： First， Chaotianzi of Yuanqu did not inherit the Song lyric tune “Chaotianzi”， but originated from folk art such as the dance group program in Song Dynasty， for example，Zhu Guo Xian Bao ［Different countries offer us their treasures］ and Chuanxin Guo Ru Gong ［Chuanxin Country’s Tribution］； Second， Chaotianzi had an extremely stable form in terms of the key and mode of Gong， syntax and meter. It features like use Zhonglv Gong Key， single piece， 11 lines of oblique rhyme， and triple part. And it maintained its orginal form strictly until the Qing dynasty， which representing a clear lineage of Chinese traditional music； Third， The Daiguoqu ［a kind of drama］ Kuaihuosan Dai Chaotianzi ［Kuaihuosan means plump， a kind of Qupai， Dai means with］ is derived from the “Zhaidiao”［a kind of Qupai］ of the Yuan Za Opera Cycle ［A Yuan opera featured miscellaneous and like a kind of cycle］ which provides strong evidence for the view that the San Qu ［scattered songs］ are derived from Za Opera. The discussion of Chaotianzi not only offered a reliable reference for the Ci & Qu evolution of Song and Yuan dynasties， but also provides a guide of the historical research of “one tune’s variations” in the song genre.
Key words： ［Chaotianzi］； Song dynasty dance group； Kuaihuosan； Daiguoqu； Zhaidiao
论苏南民歌的地域风格及其演唱
吕 琳
摘 要：苏南属于“吴地”，大致是如今江苏的苏州、常州、无锡等地区，浙江的湖州和嘉兴等地区的部分和上海地区（即原江苏的松江地区）也属于“吴地”。古代的苏南地域音乐属于“吴歌”，吴方言对“吴歌”有直接影响。“吴歌”即现在的苏南音乐，其旋律以五声音阶级进为主，音域不宽，旋律起伏不大，具有“软”“糯”“甜”“媚”的地域特色，其来源于苏南“吴歌”的特色与方言特征。我们要把握具有苏南特色的演唱风格，就必须正确理解与掌握富有地域特色的文化符号。
关键词：苏南；吴歌；吴语；音乐形态；地域特色；演唱
作者简介：吕琳（1964—），女，苏州科技大学音乐学院副教授、硕士生导师、江苏省声乐学会理事、中国高等教育学会会员（苏州215000）。
On the Regional Style of Southern Jiangsu Folk Songs and Their Singing
Lv Lin
Abstract： Southern Jiangsu belongs to “Wu Area” in ancient China， which now is roughly the Suzhou， Changzhou， Wuxi and other areas in Jiangsu Province， and some parts of Huzhou and Jiaxing in Zhejiang Province and some area in Shanghai （i.e. the former Songjiang area in Jiangsu）. In ancient， the music of southern Jiangsu was a kind of “Wu Song”， and the Wu Area’s dialect influenced on the “Wu Song” directly. The melody， which based on the conjunct pentatonic scale， is not only with narrow register and plain progress but also featured soft， glutinous， sweet， and charming. All these characteristics can be found in its language dialect.To command the style of the Wu Song， we must understand the regional cultural symbol correctly.
Key words： Southern Jiangsu； Wu song； Wu Dialect； musical form； regional characteristics； singing
音乐学学科前沿研究
阿多诺：一位马克思主义音乐社会学的积极探索者
马卫星
摘 要：西奥多·阿多诺（Theodor Wiesengrund Adorno，1903-1969）是德国哲学家、社会学家，同时，他也是音乐理论家。他自觉运用马克思、恩格斯关于生产力与生产关系等政治经济学与历史唯物主义基本原理，建构马克思主义的音乐社会学，在此基础上提出对“形式音乐社会学”，提出马克思“艺术审美内在尺度指向”一致性问题。文章以阿多诺所著《音乐社会学导论》为出发点，运用文本细读与批判分析方法，解读阿多诺“形式的内在性”与“社会的内在性”之辩证关系。同时，也从脑科学的视野，诠释马克思、恩格斯关于“审美内在尺度”与阿多诺“音乐自律性”的基因关联性，以及阿多诺的音乐“创造力”与马克思主义“生产力”的一致性体现，探讨阿多诺音乐社会学思想对当代中国艺术理论研究的学术意义。
关键词：西奥多·阿多诺；马克思主义音乐社会学；形式音乐社会学；内在尺度；脑科学
作者简介：马卫星（1958—），女，文艺学博士，360环球在线注册艺术学系教授、博士生导师（哈尔滨150028）。
Adorno: An Active Explorer of Marxism Music Sociology
Ma Weixing
Abstract： The German philosopher and sociologist Theodor Wiesengrund Adorno （1903-1969） is also a musicologist. He constructed a Marxism sociology by consciously applied the basic principles of productivity and relations of production of Marx and Engels’s plutonomy and the fundamental principles historical materialism. And then， he pointed out the consistent between the Formal Music Sociology and the Marx’s “the intrinsic law of artistic aesthetics”. Taking Adorno’s Introduction to the Music Sociology as the starting point， the article is not only an interpretation of the dialectical relationship between Adorno’s “the immanence of formal” and “the interiority of society” with a close reading and critical analysis， but also an explanation of the genic relationship between Marx and Engels’ “the inner dimension of aesthetic” and Adorno’s “the autonomy of music” from the brain science perspective. In order to discuss the academic significance of Adorno’s musical sociology to contemporary Chinese art theory research.
Key words： Theodor Adorno； music sociology； sociology of formal music； inner scale； brain science
从结构聆听到音乐可视化
李鹏程
摘 要：20世纪下半叶，结构聆听作为一种音乐作品接受模式由阿多诺正式提出。其后，中外音乐学者围绕结构聆听展开了一系列论述。当结构聆听成为作曲家和理论家心目中的理想法则，必然深刻影响着这一体系内的音乐创作、历史书写和理论分析。随着近半个世纪以来计算机技术的发展，音乐可视化已经发展出较为丰富的形式，精确展现出音乐的宏观结构和细微织体，这类视频可以在一定程度上辅助结构聆听，各种可视化手段已经在音乐欣赏和研究中获得了大量的运用。
关键词：结构聆听；音乐分析；音乐欣赏；音乐可视化
作者简介：李鹏程（1989—），男，艺术学博士，浙江音乐学院音乐学系副教授，硕士生导师（杭州 310024）。
From Structural Listening to Musical Visualization
Li Pengcheng
Abstract： In the second half of the 20th century， the structural listening was formally proposed by Adorno as a mode of reception of musical works. Since then， musicologist in China and world have make discussions around it. When the structural listening became an ideal law for composers and theorists， it inevitably had a profound impact in these areas， such as the composition， historical research， and theoretical analysis. With the computer technology evolution in the last half century， the visualization of music has developed its forms that can precisely image the music’s macro-structure and subtle texture， and such videos somehow assist structural listening and be used in music appreciation and research.
Key words： structural listening； music analysis； music appreciation； music visualization
论华莱士·贝里《音乐的结构功能》中的“动能”理论
刘 健
摘 要：华莱士·贝里（Wallace Berry，1928-1991）是一位活跃在20下半叶的美国的加拿大籍音乐理论家、作曲家、教育家、钢琴家。他是美国音乐理论协会（SMT）的创始人之一，著有四本著作与大量论文。1991年音乐理论协会设立了“华莱士·贝里奖”，以表彰在音乐理论领域出版的杰出著作。他的著作《音乐的结构功能》以详实的分析与独特的创见使读者耳目一新。该著作是当代音乐学术前沿的集大成者，折射出美国音乐理论研究多元并存的状况，被视为20世纪“动能论”学派成熟的代表作之一。文章对该著作内容加以梳理，阐述其学术渊源。
关键词：华莱士·贝里；《音乐的结构功能》；动能论
作者简介：刘健（1984— ），女，文学博士，中央音乐学院在读博士后，浙江师范大学副教授、硕士研究生导师（浙江金华 321000）。
On the “Kinetic Energy Theory” in Wallace Berry’s The Structural Function in Music
Liu Jian
Abstract： Canadian music theorist，composer，educator，and pianist Wallace Berry （1928-1991） was active in the United States in the second half of the 20th century. He was a founding member of the Society for Music Theory （SMT） and the author of four books and numerous papers. In 1991， the SMT established an award for outstanding publications in the field of music theory named the Wallace Berry Award. With detailed analysis and unique insight， his The Structural Function in Music brought a new perspective for the reader.As one of the most significant researches of the contemporary music frontier，it reflected the diversity of music theory research in the United States regarded as one of the mature works of the kinetic energy theory in the 20th century. The article summarizes the contents of the book and explains its academic origins.
Key words： Wallace Berry； The Structural Function of Music； Kinetic Energy Theory
