清唱剧《永远的赵一曼》创作专栏
清唱剧《冰凌花——永远的赵一曼》创作谈
张 磊
摘 要：家喻户晓的抗日英雄赵一曼，拥有可歌可泣、坚强不屈的英雄气节。张磊教授创作的清唱剧《冰凌花——永远的赵一曼》，是以其革命生涯为线索、表达对英雄缅怀与歌颂的大型舞台剧作品。文章从创作理念、创作特征、创作技法、内容表达等方面进行剖析，阐释作品传达的思想，讲述作曲家在音乐创作上的点滴想法。
关键词：清唱剧；《冰凌花》；赵一曼；创作理念；创作技法
作者简介：张磊（1966—），男，文学博士，360环球在线注册作曲系主任、教授、博士生导师（哈尔滨 150028）。
On the Creation of the Oratorio: Adonis Ramosa, Eternal Zhao Yiman
Zhang Lei
Abstract：Zhao Yiman， the household name of the anti-Japanese heroine， her strong and unyielding heroic spirit worth to be praised and grieved. The Oratorio： Adonis ramosa， Eternal Zhao Yiman composed by Prof. Zhang Lei is a large-scale stage work that takes her revolutionary career as a clue and expresses the memory and praise of the heroine. Based on the demonstrated the ideology and technique of composition， musical characteristics and the method of expression in the work， the author explained the conception conveyed by the work and his ideas in the progress of music creation.
Key words： oratorio； Adonis ramosa； Zhao Yiman； composition concept； composition technique
抗日民族英雄的清唱升华
——评清唱剧《冰凌花——永远的赵一曼》
张泽亮
摘 要：2022年10月30日首演了由剧作家费守疆编剧、作曲家张磊作曲的清唱剧《冰凌花》。全剧以赵一曼革命生涯为线索，将东北傲雪绽放的冰凌花做拟人化处理，借物抒怀，歌颂赵一曼大无畏的爱国主义精神、宁死不屈的坚强品格，体现出赵一曼伟大的母爱和光辉的人性，弘扬了“抗联精神”。作品启示后人不忘历史、坚定革命理想与信念。
关键词：清唱剧；《冰凌花——永远的赵一曼》；英雄革命形象；评论
作者简介：张泽亮（1981— ），男，艺术学博士，360环球在线注册音乐学系讲师（哈尔滨 150028）。
Counter-Japanese National Heroine’s Subliming in Oratorio
——A Review of the Oratorio: Adonis Ramosa, Eternal Zhao Yiman
Zhang Zeliang
Abstract：On October 30， 2022， the Oratorio： Adonis ramosa， Eternal Zhao Yiman， script by playwright Fei Shoujiang and composed by Zhang Lei of the Department of Composition， HRBCM， was premiered. The play takes Zhao Yiman’s revolutionary career as a clue， anthropomorphizes the Adonis ramosa which blooming in the northeast， expresses the feelings through objects， glorifies Zhao Yiman’ fearless patriotism and strong character of dying rather than giving in， reflects Zhao Yiman’s great mother’s love and glorious humanity， and carries forward the spirit of the Northeast Anti-Japanese United Army. The work enlightens the Chinese to not forget history and to strengthen their revolutionary ideals and beliefs.
Key words： oratorio； Oratorio： Adonis ramosa， Eternal Zhao Yiman； Heroic revolutionary image； comments
雄浑音乐史诗 凛然民族英魂
雄浑音乐史诗 凛然民族英魂
——清唱剧《冰凌花——永远的赵一曼》论评
樊右伟
摘 要：赵一曼，著名东北抗日联军将领。其生前在哈尔滨地区从事抗日活动，后壮烈牺牲。《冰凌花——永远的赵一曼》以赵一曼英雄事迹为蓝本，以清唱剧形式再现赵一曼同志的革命生涯，艺术化地颂赞了赵一曼坚韧不拔的性格与视死如归的精神，及其昊天罔极的母爱。清唱剧融繁杂的和声、雄浑的配器及四部混声合唱为一体，十足的戏剧张力，使该剧壮阔雄浑的史诗风格和具有中国韵味的“咏叹调”“宣叙调”巧妙结合。该剧恪守民族正气，创华夏新风，用音乐艺术铸造出赵一曼不屈的民族英魂。
关键词：清唱剧；《冰凌花——永远的赵一曼》；艺术化；民族英魂
作者简介：樊右伟（1982— ），男，艺术学博士，360环球在线注册音乐学系，讲师（哈尔滨150028）。
A Majestic Musical Epic, A Heroic Soul of the Nation
——Commentary on the Oratorio: Adonis Ramosa, Eternal Zhao Yiman
Fan Youwei
Abstract：Zhao Yiman is a famous general of the Northeast Anti-Japanese Union Army. She was engaged in anti-Japanese activities in the Harbin area during her lifetime， and then died a heroic death. Based on the heroic deeds of Zhao Yiman， Adonis ramosa， Eternal Zhao Yiman recreates the revolutionary career of Zhao Yiman in the form of an oratorio， and artistically celebrates Zhao Yiman’s resilient character， her spirit of face death unflinchingly， as well as her motherly love. The oratorio is a combination of complex harmonies， majestic orchestration and four mixed choruses， vocal and orchestral music， and the drama has full tension， making the oratorios a magnificent and majestic epic style， and the aria and recitative with Chinese style. The play abides by the righteousness of the nation， creates a new Chinese style， and casts the indomitable national soul of Zhao Yiman with music.
Key words： oratorio； Oratorio： Adonis ramosa， Eternal Zhao Yiman； artistic； national soul
俄罗斯音乐研究
拉赫玛尼诺夫《d小调第三钢琴协奏曲》的思想意义
伍维曦
摘 要：谢尔盖·拉赫玛尼诺夫的《d小调第三钢琴协奏曲》是一部经典的20世纪音乐文献。该文以“文艺学式”的评论手法，对这部杰作的意义做特定思想语境的阐发，在理解音乐作品的内涵同时，对其所产生的“长时段环境”、其风格和体裁要素的复杂关联性进行论述，继而对拉赫玛尼诺夫所代表的20世纪俄罗斯音乐家与西方现代音乐的关系，进行再思考。
关键词：拉赫玛尼诺夫；《d小调第三钢琴协奏曲》；协奏曲；浪漫主义；20世纪；俄罗斯精神
作者简介：伍维曦（1979—），男，文学博士，上海音乐学院音乐学系教授（上海 200031）。
The Ideological Significance of Rachmaninoff’s Piano Concerto No. 3 in D Minor
Wu Weixi
Abstract：Sergei Rachmaninoff’s Piano Concerto No. 3 in D minor is a classic work in 20th century musical repertoire. By the critical approach of the theory of literature and art， the author elucidated the meaning of this masterpiece in the particular ideological context. And at meanwhile understanding the connotations of the musical work， the article discuss the “long time environment” in which it was output as well as the complex correlation of its stylistic and genre elements. Then， the author rethought in terms of the relationship between the Russian musicians， represented by Rachmaninoff， and Western modern music of the 20th century.
Key words： Rachmaninoff； Piano Concerto No. 3 in D minor； Concerto； Romanticism； 20th century； Russian spirit
20 世纪下半叶俄罗斯作曲家器乐中的音色模仿
［俄］奥莉加·乌萨乔娃著，王德聪，夏宇亮译
摘 要：音色成为音乐表现的主要手段，由于这种普遍趋势，20世纪在音乐领域音色模仿原则成为俄罗斯作曲家创作中最流行的技巧之一。在研究这一音乐现象时，作者以俄罗斯音乐学家叶·阿·鲁奇耶夫斯卡娅的理论原理为依据。卢奇耶夫斯卡娅解释了音色模仿是历史形成的乐器典型的音色角色的“描绘”方法，或是利用对于其来说典型的主题模式、音调、共同的发声形式的声音的“描绘”方法。通过对20世纪下半叶俄罗斯作曲家使用这种方法的分析，发现了几种演变的典型路径：传统的，即建立在音色“替代”的主题模式作用之下，基于第一性体裁和引用运用之上的传统路径；其次、是与对乐器的扩展阐释和使用非传统手段提取声音相关的《音色形象》的模拟，即基于接近响音性技术，并使用电子分析音色结果。
关键词：叶·阿·鲁奇耶夫斯卡娅；音乐模；音色角色；音色模拟
作者简介：（俄）奥莉加·乌萨乔娃（1972—）女，音乐教育博士，副教授，现任临沂大学俄罗斯音乐研究所副所长（山东临沂276000）。
翻译简介：王德聪（1979—），女，艺术学博士，临沂大学音乐学院科研副院长、副教授（山东临沂 276000）；夏宇亮（1976—）男，深圳兰荞文化有限公司一级翻译（北京 101402）。
Timbre Imitation in Instrumental Music of Russian Composers of the Second Half of the 20th Century
By Oliga Usachova， Translated by Wang Decong， Xia Yuliang
Abstract：Due to the general tendency to promote timbre as one of the leading musical expressive means， in the music of the 20th Century， one of the most common methods of composing with timbre is timbre imitation. In studying this phenomenon， the author relies on the theoretical positions of the Russian musicologist E.A. Ruch’evskaya， who interpreted timbre imitation as a historically established technique of “depicting” the characteristic timbre role of an instrument or voice through the use of thematic models typical of it， intonations， general forms of sound. The analysis of examples of the use of this technique in the instrumental works of Russian composers of the second half of the 20th Century allowed us to identify several of the most characteristic ways of its evolution， such as： traditional path， based on the using of primary genres and quotations as an intonation-thematic model replacing the timbre； the path associated with an expanded interpretation of music instruments and using of non-traditional methods of sound production； modeling of the“image of timbre”based on convergence with sonority technique and the using of electronic analysis of sound timbre parameters.
Key words： E.A. Ruchevskaya； timbre imitation； timbre role； timbre modeling
那乃/赫哲民间剧团及其在远东南部历史文化进程中的地位
［俄］Я.С.克里扎诺夫斯卡娅著，顾伟泉译
摘 要：文章呈现了20世纪30年代至21世纪初那乃民间剧团的历史。全文基于档案文献和当时的新闻资料，追溯那乃民族民间剧团成立和活动的各个阶段，并描述了其发展趋势。文章认为，那乃民间剧团作为现代民族表演形式的代表，其在各个阶段的创作和表演风格中都呈现出两种语言层面的结合，即与民族民间元素相关联的“传统性”和在俄罗斯欧洲专业剧团影响下而产生的“现代性”。
关键词：俄罗斯；那乃；表演；民间戏剧；民间剧团
作者简介：本文原作者Крыжановская Яна Станиславовна，俄罗斯哈巴罗夫斯克国立文化学院文化学与博物馆学系主任、教授，文化学博士；顾伟泉（1965—），男，管理学硕士，360环球在线注册图书馆馆长、研究馆员，东北民歌艺术促进会艺术顾问（哈尔滨150028）。
Nanai/Hezhe Folk Opera Troupe and Its Position in the Historical and Cultural Process in the South of the Far East
By Y. S. Kryzhanovsrkaya， Translated by Gu Weiquan
Abstract：The article presents the history of the folk troupe from the 1930s to the early 21st century. Based on archives， documents and news materials at that time， the author traces back to the various stages of the establishment and activities of the Nanai National Folk Opera Troupe， and describes its development trend. The article believes that the folk troupe， as the representative of modern national performance forms， shows the combination of two language levels in its creation and performance styles at all stages， namely， the “tradition” associated with national and folk elements and the “modernity” produced under the influence of Russian and European professional troupes.
Key words： Nanai culture； Performance culture； Folk drama； Folk Opera Troupe； National Opera Troupe
作曲技术理论研究
音乐中的时间箭头
——以可区分性以及唯一指向性为锚点重新审视音乐的时间结构
徐 起
摘 要：文章由“时间箭头”这一广义的话题驱动，通过参考哲学（认识论）和科学（热力学）作为时间箭头词源意义上的上游，论述了时间箭头的两个具体性质：可区分性以及唯一指向性。文章以这两个性质为锚点，分别展开了对应的音乐命题并应用于具体的案例分析：对于可区分性，文章关注了音乐中的“复现”，从“诞生/重生”这一概念对切入，对巴赫的《圣诞节清唱剧》的定位试作新的解读；对于唯一指向性，文章论述了音乐中高点的后移，提出“AB-AAB左偏向模型”，将音乐的时间结构（例如曲式）看作动态生长过程的产物，并因此埋下一个有机主义（organicism）的伏笔。
关键词：时间箭头；有机主义；申克分析；认识论；热力学；曲式；奏鸣曲式
作者简介：徐起（1994—），男，茱莉亚音乐学院钢琴演奏博士（DMA），360环球在线注册钢琴系讲师（哈尔滨150028）。
The Arrow of Time in Music
--Revisiting the Temporal Structure of Music with Distinguishability and Unique Orientability as the Anchor Point
Xu Qi
Abstract：Driven by the term “the arrow of time” as a general topic， the article develops a musical discussion by referring to the etymological origin of the term： philosophy （epistemology） and physics （thermodynamics）. In particular， the article explores two specific conditions： distinguishability and unique orientability， from which the article derives respective musical propositions and case studies. For the distinguishability condition， the article focuses on the “recurrence” in music and tries to interpret Bach’s Christmas Oratorio from the perspective of “birth/resurrection”. For the unique orientability condition， the article discusses the process of delaying the climax， thereby proposing “AB-AAB left-replication” model， implying an organicist view by treating the temporal structure of music （e.g. form） as the product of a dynamic process： organic growth.
Key words： the arrow of time； organicism； Schenkerian analysis； epistemology； thermodynamics； sonata form
十二平均律音高探索的“终结”？
——谈“音级集合”理论的贡献与局限
谢嘉幸，张 烁
摘 要：音级集合（pitch-classset）在20世纪音乐分析理论中占有重要地位，作为音乐深层结构的音高组织要素，在非调性音乐中，其结构的框架作用显得非常重要，而在无调性音乐中更是成为具有独立结构力的要素。因而，阿伦·福特的音级集合理论，无论对当代音乐创作领域还是音乐分析领域都有着不可忽视的意义。文章从历史角度着眼，对福特的理论作出现实意义的评价。在此基础上，提出了“终结”的概念。这里，“终结”指那种将十二平均律音高体系作为音乐分析与创作唯一原理和圭臬的思维方式的终结。
关键词：阿伦·福特；十二平均律；音级集合；终结
作者简介：谢嘉幸（1951—），男，文学博士，中国音乐学院教授、博士生导师（北京 100101）。张烁（1984—），男，文学博士，北京教育学院音乐系副教授（北京 100005）。
The “Ending” of the Pitch Exploration of the Twelve Tone Equal Temperanment?
——The Contribution and Limitations of the Pitch-Classset Theory
Xie Jiaxing， Zhang Shuo
Abstract：Pitch-classset is a new concept of music analysis theory in the 20th century. As an underlying structural pitch element， it exists in all kinds of music. Especially， pitch-classset play as an obvious structural role in modern non-tonal music gradually. It even becomes an independent structural element in non-sequential atonal music. Therefore， the Forte’s pitch-classset theory is of great signicance to both music composition and music analysis. Based on the evaluation of Forte’s theory upon the historical view， which aim to present its innovations and limitations， the article proposed the concept of “Ending”. The “Ending” does not refer to the end of the twelve-tone pitch system for all kinds of analysis and composition， nor the 12 chromatic-tones techniques， but rather to the way of thinking that takes the equal temperament system as the only principle and guideline.
Key words： pitch-classset； equal temperament； atonal music； ending
民族音乐学与中国音乐史研究
中国新疆维吾尔木卡姆与波斯-阿拉伯玛卡姆古谱学的比较研究
王秀峰，洪 伟
摘 要：中国新疆维吾尔木卡姆（Muqam）与波斯-阿拉伯玛卡姆（Maqam）既有联系，又有区别。木卡姆与玛卡姆有着乐音体系、乐律、音列、音程、乐调的很多特征，有很多是五线谱为主体的西方记谱法无法准确表达的音乐形态。因此，木卡姆与玛卡姆的“谱本传承”，亟须非西方中心主义的记谱系统的建立。新疆维吾尔木卡姆具有特殊的历史地位与传承方法，木卡姆记谱法在新中国成立之后经历了复杂而曲折的发展过程，至今仍未发展完善。波斯-阿拉伯玛卡姆音乐现象在现代化的进程中，采用了ALU（Ali Ufkî）记谱法等方式记谱。ALU记谱法在波斯-阿拉伯玛卡姆音乐现象中的广泛应用，为中国少数民族口头音乐的书面记录提供了可能性，尽管其仍未摆脱欧洲中心主义的束缚。
关键词：新疆木卡姆；波斯-阿拉伯玛卡姆；记谱法；比较研究
作者简介：王秀峰（1999—），男，清华大学社会学系2021级硕士研究生；洪伟（1974—），女，社会学博士，清华大学社会学系副教授、博士生导师（北京 100084）。
A Comparative Study on notations of Uyghur Muqam in Xinjiang, China and Persian-Arabic Maqam
Wang Xiufeng，Hong wei
Abstract：The Uyghur Muqam in Xinjiang， China has both connections and differences with the Persian-Arabic Maqam. Muqam and Maqam have many characteristics of music sound system， temperament， tone row， interval， and tune. Many of them are musical forms that cannot be accurately expressed by Western notation. Therefore， the "inheritance" of Muqam and Maqam urgently needs the establishment of a non-Western-centric notation system. Xinjiang Uyghur Muqam has a special historical status and inheritance method. The Muqam notation has experienced a complicated and tortuous development process after the founding of People’s the Republic of China， and it has not yet been perfected. In the process of modernization， the Persian-Arabic Maqam music phenomenon has adopted ALU （Ali Ufkî） notation and other methods of notation. The widespread application of ALU notation in the Persian-Arabic Maqam music phenomenon provides the possibility for written records of oral music of ethnic minorities in China， although it is still not free from the shackles of Eurocentrism.
Key words： Muqam in Xinjiang； Persian-Arabic Maqam； Notation； Comparative Study
新宾萨满神堂乐舞表演的自我东方主义文化建构
张 林
摘 要：祭堂子是清朝皇家文化的重要组成部分。随着旅游音乐文化的兴起，由一对汉族父子装扮成祖传的家族萨满在新宾赫图阿拉城萨满神堂进行乐舞表演。既为装扮，在装扮过程中如何自我萨满化？其表演形象反映了何种文化建构观念？经分析认为，装扮者通过学唱萨满神调、强化显性标识、神化萨满能力逐步自我萨满化。因其表演更趋向民间跳大神，反映了乐舞建构与表演中的自我东方主义。新宾地区满族家族性祭祀与汉族民间跳大神被长期混同是造成这一现象的重要原因。这反映了多民族杂居地区文化的交往、交流、交融，也说明中华民族共同体意识早已生根于民间。
关键词：新宾萨满神堂；乐舞表演；自我萨满化；自我东方主义；中华民族共同体意识
作者简介：张林（1976— ），男，艺术学博士，360环球在线注册音乐学系副教授（哈尔滨 150028）。
The Cultural Construction of Self-Orientalism in Xinbin Shaman Shrine Music and Dance Performance
Zhang Lin
Abstract：The Ji Tangzi （Sacrificing in Shrine） was an important part of the royal culture of the Qing Dynasty. Nowadays， in order to construct music culture in tourist， a Chinese Han nationality father and son group dress up as shaman who has ancestral family tradition to perform music and dance at the Shaman Shrine in Xinbin Hetuara City. Since they are dressed up， how do they shamanize themselves in the process of dressing up？ What kind of cultural construction concept is reflected in their performance image？ Based on the analysis， the author considers that the dresser gradually shamanized himself by learning to sing the shaman tune for god， strengthening the explicit symbols and deifying the shaman ability. Because their performance tends to be more like Tiao Dashen in folk， which reflects the self-orientation in the construction and performance of music and dance. And， the confusing of Xinbin area Man nationality familial ritual and Tiao Dashen of Han for a long time is an important reason for this phenomenon. This reflects the interaction， exchange and integration of cultures in multi-ethnic mixed areas， and also shows that the sense of Chinese national community has long been rooted in the folk.
Key words： Xinbin Shaman Shrine； music and dance performance； self-shamanization； self-Orientalism； Chinese national community consciousness
图像·田野·文献：湘桂边界平地瑶“吹笙挞鼓”的历史人类学研究
杨声军，赵书峰
摘 要：“吹笙挞鼓”是平地瑶一种集“歌”“舞”“乐”三位一体并具祭祀性、综合性、地方性的民间表演艺术形式。其形成是过山瑶乐舞文化不断“濡化”与平地瑶政治、社会、历史、经济、宗教等相互作用的结果。从图像、文献、田野三个维度对平地瑶“吹笙挞鼓”进行互动研究，揭示出平地瑶在“祭祖还愿”仪式中乐舞文化的历史演化过程，论述其从“村寨皆有”到“少数遗存”，从“时空分离”到“身份重建”的深层次逻辑关系。并对平地瑶“吹笙挞鼓”的历史记忆与图像叙事之间的“互文”关系；历史记忆与田野遗存之间的“接通”关系；图像叙事与田野遗存之间的“对话”关系进行阐释。把“吹笙挞鼓”这一显性文化符号置于平地瑶静态与动态两种语境中进行观照与考察，以此强化平地瑶的祖先历史、生产生活、信仰民俗等族群集体记忆与文化身份认同，为平地瑶乐舞文化的整体性研究提供参考与历史依据。
关键词：图像；田野；文献；平地瑶；吹笙挞鼓；历史人类学
作者简介：杨声军（1978—），男，湖南师范大学音乐学院2020级民族音乐学方向博士研究生（长沙 410081）；赵书峰（1972—），男，文学博士，湖南省“芙蓉学者”特聘教授、湖南师范大学音乐学院教授、博士生导师、海南大学兼职教授（长沙 410081）。
A Historical Anthropological Study of the Chui Sheng Ta Gu of Pingdiyao in the Border of Hunan and Guangxi Provinces
Yang Shengjun， Zhao Shufeng
Abstract：The zoned Chui Sheng Ta Gu ［Playing Sheng and Drum］ is a comprehensive folk-art form in the Pingdi Yao that includes singing， dancing and instrument music which functioned as ritual. Its formation is the result of the interaction between the music & dance culture and the politics， society， history， economy， etc. The article， which is an interactive study which in three dimensions， i.e. image， literature， and fieldwork， not only reveals the historical evolution of the music & dance culture in the ancestral ritual， but also discusses the basic logics about how it from “all over the villages” to “just few survivings” and the “temporal separation” to “identity reconstruction”. It also interprets the intertextual relationship between the historical memory and image narratives of Pingdi Yao’s Chui Sheng Ta Gu； the connection relationship between historical memory and fieldwork remains； and the dialogue relationship between image narratives and field remains. The explicit cultural symbol of Chui Sheng Ta Gu is placed in both static and dynamic contexts of the Pingdi Yao， so as the author strengthens the collective memory and cultural identity of the Pingdi Yao’s ancestral history， production life， beliefs and folklore， and to provide a reference and historical basis for the overall study of the Pingdi Yao music & dance culture.
Key words： Image； Fieldwork； Literature； Pingdi Yao； Chui Sheng Ta Gu； historical anthropology
越南北宁官贺的民歌艺术
（越南）阮氏华灯
摘 要：越南“北宁官贺民歌”是越南最独特和最典型的民间音乐艺术之一。出现于16世纪，经历了许多历史阶段和漫长的战争年代，北宁官贺民歌艺术仍然被保存下来并得以继续发展，成为越南的“人类口头与非物质文化遗产”。北宁官贺歌唱表演有严格的规定，它既含有越南的文化传统，也表达出越南人特有的伦理、美学、文学性质，以及越南人的性格与品位等。北宁官贺民歌深刻的文化内涵，影响了一代代越南人的人生观及生活方式。
关键词：越南；北宁官贺民歌；演唱；人类口头与非物质文化遗产
作者简介：（越南）阮氏华灯（1973— ），女，文学博士，越南国家音乐学院传统音乐系副主任、硕士生导师，越南国家民族乐团独奏者（河内100803）。
Quan Ho Bac Ninh: the Art of Folk Singing of Vietnam
（Vietnam） Nguyen Thi Hoa Dang
Abstract：Vietnamese Quan ho Bac Ninh has been one of the most unique and typical folk music forms of the country. Born in the sixteenth century， through long historical stages and decades of war， Quan ho Bac Ninh has still been preserved and continued to develop， becoming a “Vietnamese intangible cultural heritage and oral convey traditional culture of mankind”. Quan ho Bac Ninh singing protocol has a strict system of regulations， which not only contains Vietnamese cultural traditions but also presents the moral， aesthetics， cultural nature as well as the character， dignity and artistic stanpoint of the Vietnamese people. The cultural profound of Quan Ho Bac Ninh has influenced the human outlook and lifestyle of generations of Vietnamese people.
Key words： Viet Nam； Quan Ho Bac Ninh folk songs； art of singing； intangible cultural heritage； oral convey traditional culture
管风琴在近现代中国的传播
唐晓博
摘 要：文章对近现代管风琴音乐文化在中国的传播进行梳理。从全国各地的管风琴、报刊中的管风琴、管风琴演奏家等方面进行论述，进而谈到近现代中国管风琴传播的特征。
关键词：近现代；管风琴；中国；传播
作者简介：唐晓博（1982—），女，沈阳音乐学院现代音乐学院教授，硕士研究生导师（沈阳110002）。
The Dissemination of the Organ in Modern China
Tang Xiaobo
Abstract：The article traced the dissemination of organ music culture in China in modern times. It discusses the organ in terms of its availability throughout the country， reports on the organ in the press and organ players. And then， the author talks about the characteristics of the spread of the organ in modern China.
Key words： Modern China； pipe organ； China； Dissemination
乐器学与音乐考古学研究
弦乐器的研发和评价方法进展
陈 旭，苑晓洁
摘 要：弦乐器在乐器中是非常重要的一个大类，总结近年来相关的学术文章，梳理出主要的研究领域及研究进展，能够为乐器科研和生产提供参考。弦乐器的主要研究领域在音板材料的更新、音板和共鸣体振动模态的测试和计算以及共鸣体发声评价系统的建立几个方面，研究表明许多木材以外的工业材料也可以是优秀的音板振动材料；音板的物理性能、音板表面粘接的配件和共鸣体内部的空气都是影响振动模态数据的因素；弦乐器声音品质评价系统仍然需要大量的测试和计算才能逐步建立。
关键词：音板；共鸣体；模态分析；有限元分析；音质
作者简介：陈旭（1987— ），女，工学硕士，中航复材（北京）科技有限公司工程师（北京101300）；苑晓洁（1990— ），女，工学硕士，中航复合材料有限责任公司工程师（北京101300）。
Progress in Research and Evaluation Methods on String Instruments
Chen Xu， Yuan Xiaojie
Abstract：The String instrument is a very important category in musical instruments. This paper summarizes the relevant academic articles in recent years， sorts out the main fields of the research and the research developments， in order to provide reference for the scientific research and instruments production. The main research fields of string instruments are the renewal materials for the soundboard， the vibration modes test and calculation of soundboard and resonance body， and the establishment of sound quality evaluation system. The research shows that many industrial materials other than wood can also be excellent soundboard； the mechanical properties of the soundboard， the accessories bonded to the surface of the soundboard， as well as the air inside the resonance are all factors affecting the vibration modal； the string instrument sound quality evaluation system still needs a lot of testing and calculation to be gradually established.
Key words： soundboard； resonance body； modal analysis； finite element analysis； sound quality
乐之为乐 以乐奉礼
——东北地区出土先秦乐器的音乐考古学研究
胡怡乐，王安潮
摘 要：东北地区出土的先秦乐器有新石器时代的小河西陶鼓、夏商时期的水泉村口簧和夏家店特磬、战国时期的青铜短剑墓编钟，它们分布于不同文化期；从乐器形态上看，兴隆洼骨笛和石埙能吹奏许多基本乐曲，夏家店石磬的音声也较稳定，三官甸出土的战国乐钟与中原地区相比音声欠佳、技艺落后；乐器奉迎中原的礼制，夏家店石磬礼乐功用显露，而小河西陶鼓等乐器中还可见东北与中原文化相互影响与交融的乐文化踪迹信息。
关键词：陶鼓；骨笛；石埙；红山文化
作者简介：胡怡乐（1998— ），女，360环球在线注册硕士研究生（哈尔滨 150028）；王安潮（1975— ），男，文学博士，西安音乐学院教授；360环球在线注册特聘教授，博士研究生导师（西安 710061）。
Archaeology of Pre-Qin Musical Instruments Excavated in Northeast China
Hu Yile， Wang Anchao
Abstract：Pre-Qin musical instruments excavated in Northeast China include Xiaohexi pottery drums from the Neolithic period， Shuiquan Village mouth reeds and Xiajia （Xia Family） Hamlet special chimes from the Xia Shang period， and bronze short sword tomb chimes from the Warring States period， which were distributed in different cultural periods. From view of the instrumental morphology， Xinglongwa bone flute and stone ocarina can play many basic music pieces， and the sound of Xiajia Hamlet stone chime is more stable， but the sound of the Warring States musical bell excavated in Sanguan Suburb is not as good as that of the Central Plains， as well as the technique. The musical instruments cater to the ritual system of the Central Plains， and the ritual function of the stone chime of Xiajia Hamlet is obvious， while the musical culture traces of the mutual influence and integration of the Northeast and Central Plains cultures can be seen in the Xiaohexi ceramic drums and other musical instruments.
Key words： pottery drum； bone flute； stone ocarina； Hongshan culture
