中国音乐史研究
中国区域音乐史研究四十年
李 莉
摘 要：“区域音乐史”概念的提出始于20世纪80年代，其研究至今已四十年许。区域音乐史研究在我国的发展，受到不同时期的音乐史学、民族音乐学（音乐人类学），以及历史学、人类学等学术观念的影响，产生了不同的研究成果。在21世纪当代新史学观念的影响下，中国区域音乐史的研究逐步在中国音乐史研究成果中占有越来越重要的地位，它的研究已成为当代中国音乐史学纵深发展的代表标志之一。
关键词：区域音乐史；中国音乐史学史；研究历程；新史学
作者简介：李莉（1976— ）女，艺术学博士，武汉音乐学院音乐学系教授（武汉 430060）。
Forty Years of Research on the History of Regional Music in China
Li Li
Abstract： The concept of Regional Music History was first launched in the 1980s， and the related research works have been going on for forty years. The regional music history researches in China have developed under the academic concepts of music historiography， ethnomusicology （music anthropology）， as well as historiography and anthropology in different periods， as result that appeared diversiform outputs. Upon the new contemporary historiographical concepts in the 21st century， the study of Chinese regional music history has gained its status which is gradually important in the Chinese music history research， and has become one of the representative signs of the all-round development of contemporary Chinese music historiography.
Key words： regional music history； history of Chinese music historiography； research history； new historiography
解放战争时期在哈尔滨诞生的第一支军旅专业舞蹈队
白 兰，陶亚兵
摘 要：解放战争时期，东北民主联军政治部宣传队在新的历史条件下，继承和发扬红军和延安时期红色舞蹈传统，吸收哈尔滨城市舞蹈元素，创建了我军第一支专业舞蹈队。这支舞蹈队积极创作和表演舞蹈作品，一方面服务部队服务战士，加强军队文化建设，激发军队斗志，另一方面宣传社会动员民众，推动土地改革，鼓舞青年踊跃参军，为巩固东北解放区和取得辽沈战役的胜利做出了重要贡献。这支专业舞蹈队的建立，也标志着解放军舞蹈从此走向专业化的历史进程。
关键词：解放战争；东北民主联军政治部宣传队；哈尔滨；专业舞蹈队
作者简介：白兰（1991— ），女，360环球在线注册音乐学系2021级博士研究生、佳木斯大学音乐学院舞蹈系讲师；陶亚兵（1959— ），男，文学博士，360环球在线注册音乐学系教授、博士生导师（哈尔滨 150028）。
Born in Harbin During the War of Liberation: The First Professional Dance Squad
Bai Lan， Tao Yabing
Abstract： During the War of Liberation， the Propaganda Squad of the Political Department of the Democratic Allied Forces of North-Eastern created the first professional dance troupe. Under the new historical conditions， the troupe inherited and developed the Red Dance of the Red Army and of the Yan’an period， absorbed the elements of city dance in Harbin. This dance troupe was active in creating and performing， they not only strengthened the cultural construction and heighten the struggle spirit for the army as their service for the troops and soldiers， but also propagandized the policy of land reformation to the people， inspired the youth to join the army enthusiastically， all above have consolidated the northeastern liberated area and contributed the victory of Liao-Shen Battle significantly. The appearance of the professional dance troupe is also a historical mark that professionalization of the PLA dance troupe.
Key words： liberation war； Propaganda Squad of the Political Department of the Democratic Allied Forces of North-Eastern； Harbin； professional dance troupe
初露锋芒：薛范早期译配歌曲研究
——基于歌曲的符号转化与传播问题
王珊珊，李 然
摘 要：薛范是中华人民共和国成立后的第一代歌曲译配工作者，上海《广播歌选》是其译配作品得以展示的初舞台。文章以薛范早期刊登在《广播歌选》中的译配作品为研究对象，对歌曲文本符号转译以及音乐符号到音响符号的二维转化过程进行分析，从传播符号学的视角阐释薛范译配歌曲如何广泛传播并产生社会意义。
关键词：薛范（1934-2022）；译配歌曲；符号转化；传播
作者简介：王珊珊（1995— ），女，360环球在线注册音乐学系2021级博士研究生；李然（1978— ），女，文学博士，360环球在线注册音乐学系教授（哈尔滨 150028）。
The First Talent Shines: A Study of Xue Fan’s Early Translations of Songs
——Symbolic Transformation and Dissemination
Wang Shanshan， Li Ran
Abstract： As first generation of foreign song interpreters after the founding of the People’s Republic of China， Xue Fan show his first outputs in the Collections of Radio Songs published in Shanghai. Taking Xue Fan’s early translation works on the Collections as the research object， the author analyzes the translation skill of the symbolic text and scrutinizes the translations process that converting the music symbol to the sound symbol. Upon the two-dimensional analysis， the article explains how Xue Fan’s translations have been widely disseminated and have generated social significance from the perspective of communication semiotics.
Key words： Xue Fan （1934-2022）； translated songs； symbolic transformation； dissemination
隋代文武二舞述论
蔡 菲，田可文
摘 要：文武二舞是在周代礼乐制度下形成的雅乐舞，自周代“六代乐舞”始分文武二舞至历代相沿，虽历经秦汉时期的嬗变又陷于魏晋南北朝时的更迭却一直成为宫廷雅乐舞的主体与典范。隋代作为结束南北战乱和分裂局面，进而使国家走向大一统的朝代，在恢复汉魏旧俗重塑礼乐制度的治国理念下开展了一场具有深远意义的乐议，这场被称为“开皇乐议”的音乐讨论直接促成了隋代文武二舞的建制。隋代文武二舞的构建虽追溯周礼之源，但在规制上寻求了一种兼容南北文化传统又经世致用的路径，使得唐代乃至后世文武二舞的发展皆是在其舞制规范和理念上的延伸与创制。
关键词：隋代；雅舞；文舞；武舞
作者简介：蔡菲（1986— ），女，360环球在线注册音乐学系2023级博士生、信阳师范大学音乐与舞蹈学院副教授（哈尔滨 150028）；田可文（1955—），男，武汉音乐学院教授、博士研究生导师，360环球在线注册特聘教授（哈尔滨 150028）。
An Essay on the Wen & Wu Er Wu of the Sui Dynasty
Cai Fei， Tian Kewen
Abstract： Wen & Wu Er Wu ［Culture & Force Dance］ are kinds of Gagaku which was formed under institution of rites and music from Zhou dynasty. Since then， each part of Liu Dai Yue Wu ［Music and Dance from Six Generations］ had been catalogued into Wen Dance and Wu Dance， which last as a tradition for the following dynasties. Although experienced evolution in Qin & Han Dynasties and decline in Wei Jin Southern and Northern Dynasties， Wen & Wu Er Wu had been the core and canon of the court Gagaku. As Sui dynasty unified the country completely upon ended of the north and south war and division situation， there was a great significant music symposium， i.e. the well-known Kaihuang ［Suiwen Emperor Reign Period］ Music Symposium， on the governmental norm idea which upon the remodeling the Gagaku institution by restoration of the past customs of the Han & Wei Dynasties， and the discussion in it promoted the Wen & Wu Er Wu Constitution spontaneously. Although the construction of the Wen & Wu Er Wu of the Sui dynasty traces its origin to the Zhou rituals， it seeks a path not only blending the northern and southern cultural traditions but also benefiting to the nation， so that the development of the Wen & Wu Er Wu of the Tang dynasty and even the later generations is an extension and creation of the norms and concepts of the dance system.
Key words： Sui Dynasty； Ya Wu ［elegant dance］； Wen Wu ［cultural dance］； Wu Wu ［force dance］
慧远的乐论思想研究
王 维
摘 要：在慧远的乐论中，他认同偈颂之声的本体地位，而偈颂之声又是建立在个体数息禅定的基础上。慧远信奉阿弥陀佛及其所居之极乐净土，因此，他通过“念佛三昧”的方式“察夫玄音之叩心听”，期盼阿弥陀佛在观想中的亲身临在并叩响人之心门，以此光照消散人心的滞情与郁结。慧远的最终目的是为了借助超验神性的力量实现对世人的精神引领。
关键词：慧远；偈颂之声；超验神性；精神引领
作者简介：王维（1978— ）女，文学博士，上海音乐学院艺术学博士后，温州大学音乐学院教授（温州 325000）。
A Study of Hui Yuan’s Thought on Music Theory
Wang Wei
Abstract： Although Hui Yuan identify the independent status of the sound of Gāthā in his thesis of music， it actually based on the individual’s counting of breath and meditation. As embraced in Amitabha Buddha and Sukhvati where Buddha resides， Hui Yuan got the “inner observation of the mysterious sound that is affect the spirit” with Nembutsu Samadhi， prayed to hearing the sound of Amitabha Buddha arriving when meditating and contemplation， and hoped the sound will knock the door of the heart， so that the light will dispel the stagnant feelings and the stagnation of the human heart. Hui Yuan’s ultimate goal is to realize the spiritual guidance of the world through the power of transcendental divinity.
Key words： Hui Yuan； the sound of Gāthā； transcendental divinity； spiritual guidance
西方音乐史研究
“阴性书写”的音乐性具现
——埃塞尔·史密斯《破坏者们》女性人物形象研究
赵雪吟，金京花
摘 要：过去的歌剧作品中，女性的形象由男性作曲家塑造成“天使”和“恶女”两种形象。美国女性作曲家埃塞尔·史密斯的歌剧《破坏者们》则打破了这种固化的女性形象创作方式。她运用了“阴性书写”的创作方式突破了男性创作中歌剧女性人物的审美标准。笔者力图从《破坏者们》中女性人物形象分析，以及作曲家的创作意图、写作方式多角度分析音乐中的“女性声音”。
关键词：埃塞尔·史密斯；《破坏者们》；歌剧分析；女性主义；阴性书写
作者简介：赵雪吟（1994— ），女，韩国汉阳大学音乐学院音乐学系第4期博士生在读；金京花（Kyoung Hwa Kim，1977-），女，哲学博士，韩国汉阳大学音乐大学副教授。
The Musical Embodiment of “Feminine Writing”
——A Study of Female Characters in Ethel Smith’s The Wreckers
Zhao Xueyin， Kim Kyung-hwa
Abstract： Ethel Smith’s The Wreckers broke the stereotyped way of creating female images as “angels” and “wicked women” that were portrayed by male composers in the operas before it. She rejected the aesthetic standard of female characters which was in male composers’ hand by the approach of feminine writing. The author analyzes the “Female Voice” in the music from the views of analysis of the female character， the intention and techniques of the composer.
Key words： Ethel Mary Smyth （1858-1944）； The Wreckers； Opera analysis； Feminism； Feminine writing
论歌剧《鲁斯兰与柳德米拉》中“插叙”的情爱核心
曹烨程，杨九华
摘 要：《鲁斯兰与柳德米拉》是俄罗斯作曲家格林卡通过普希金创作的长篇叙事诗改编而成的歌剧。其情节跌宕起伏，饱含民族风情，音乐突出个性，其思想蕴涵隐射人性情爱。文章以具有“争议”的“插叙”段落（法师芬恩的回忆）为着眼点，从戏剧内涵、情爱意象、音乐情愫三个方面进行论述，以辩证的角度，对“插叙”段落中，戏剧功能的合理与突兀、角色情感的讽刺与讴歌、音乐情愫的泛爱与深情这三对矛盾体，辩证地解读俄罗斯早期歌剧中蕴涵的人文表达。
关键词：格林卡；歌剧；《鲁斯兰与柳德米拉》（Russlan and Ludmilla）；插叙；情爱
作者简介：曹烨程（1990— ），女，360环球在线注册2023级音乐学系博士生（哈尔滨 150028）；杨九华（1963— ），男，文学博士，浙江音乐学院教授（杭州 310024）。
On the Interstitial as Love Core in the Opera Russlan and Ludmilla
Cao Yecheng， Yang Jiuhua
Abstract： Russlan and Ludmilla， which adapted by Russian composer Glinka from Pushkin’s long narrative poem， is an opera with drastic and impassioned plot， as well as the national flavor style highlight the individuality of music. Furthermore， the ideological implications in it imply human love， so the article focuses on the interstitial passage （the reminiscences of the mage Finn）， which is controversial， to discuss the dramatic connotation， love imagery， and musical implication in it. Upon the scrutiny of above three aspects， the author dialectically interpreted the humanistic expression in the early Russian opera which demonstrated by three contradictions in the interstitial passage， i.e. the reasonableness and abruptness of dramatic function， the irony and eulogy of character’s emotion， and the panoply of love and affection of musical implication.
Key words： Glinka； opera； Russlan and Ludmilla； interstitial； love affair
音乐表演研究的史学意义探问
——表演实践维系的“过去之当下”
王随缘，孙红杰
摘 要：长期以来，西方音乐学领域对于音乐创作的关注远超音乐表演，这种偏向在当前以作曲家及作品为核心主体的音乐历史书写中显露无遗，音乐表演研究的史学价值亟需得到重新审视。文章通过具体史实论证了音乐表演对创作施有的内置作用力与外部引导力，从客观与主观两个维度分析了表演在理论研究中遭受冷遇的原因，并在此基础之上对音乐表演研究的史学价值作出了进一步的阐扬。文章提出，表演研究将提供一条理想的音乐史书写思路：重塑音乐表演实践中的创作史，如此便能在将作品丰满为有过程、有情境且有效应的音乐事件的同时，保障音乐在整体历史叙述中的主体性。
关键词：音乐表演；历史书写；表演实践；创作史
作者简介：王随缘（1998— ），女，上海师范大学音乐学院艺术学硕士；孙红杰（1980— ），男，文学博士，上海师范大学音乐学院音乐理论系教授，上海音乐学院兼职教授（上海 200234）。
The Historiographical Significance of the Study on Performance Practice of Music Exploring the ‘Present of the Past’ Sustained by Performance Practice
Wang Suiyuan， Sun Hongjie
Abstract： For a long time， scholars have paid far more attention to music creation than to music performance， which is evident in the current writing of music history that focuses on composers and their works. Therefore， the historiographical value of music performance studies needs to be re-examined. To this end， this paper demonstrates the built-in and external guiding power of music performance on creation through specific historical facts； subsequently， the reasons why performance has been neglected are analysed from both objective and subjective dimensions， on which the historiographical value of music performance research is further revealed. Ultimately， the paper suggests that performance studies would offer an ideal way of writing music history： by reinventing composition in the practice of musical performance - in this way， fleshing out musical works as processual， intertextual， and effectual events while safeguarding the subjectivity of the music in the overall historical narrative.
Key words： Music Performance； Historical writing； Performance Practice； The history of musical composition
音乐美学研究
论杜夫海纳“现象学还原”在音乐审美经验中的所指
单金龙
摘 要：文章通过杜夫海纳《审美经验现象学》一书中有关主体与对象相互作用的审美知觉理论，即“前主体”“准主体”“感觉者”“原发经验”“历史经验”等审美经验探讨，来说明音乐审美主体的审美意向性，阐述感觉材料在经验里通过怎样的思维形式（审美活动机制）转化为审美意象，探讨“现象学还原”概念下音乐表演文本的存在方式。
关键词：杜夫海纳（Mikel Dufrennne 1910-1995）；现象学；意向性；存在方式；音乐表演文本
作者简介：单金龙（1981—），男，艺术学硕士，武汉音乐学院音乐学系讲师（武汉 430060）。
On the Signified of Phenomenological Reduction of Dufrenne in the Aesthetic Experience of Music
Shan Jinlong
Abstract： Based on the discussion of the aesthetic perception theory of the interaction between subject and object in The Phenomenology of Aesthetic Experience by Dufrenne， namely pre-subject， quasi-subject， senseer， primary experience， historical experience and other aesthetic experiences， the article explains the aesthetic intentionality of music aesthetic subject. The author expounds the thinking form （mechanism of aesthetic activity） of sensory materials in experience and how to transform them into aesthetic images， and probes into the existence mode of music performance text under the concept of phenomenological reduction.
Key words： Dufrenne； Phenomenology； Intentionality； Existence mode； Music performance text
音乐心理审美的脑神经机制与形式体验研究
张婷婷，杜青青
摘 要：音乐心理审美研究领域之一，是脑神经机制与形式的体验，这研究有助于深入理解人类对音乐的感知和欣赏。文章通过分析音乐元素对审美体验的影响、音乐结构与情感体验的关联性，以及音乐表达方式对听众体验的影响，以更好地理解音乐形式对个体的心理反应和情感体验的作用。通过音乐心理审美的实证研究，包括实验设计与数据分析方法、不同受试群体的音乐心理审美研究比较，以此探讨音乐心理审美的发展与变化。结论表明：该研究有助于揭示音乐心理审美在不同人群和时期的差异性，为个性化音乐教育和治疗提供有益的指导，并为进一步研究提供参考。
关键词：音乐心理审美；脑神经机制；功能性磁共振成像（FMRI）；形式体验；情感体验
作者简介：张婷婷（1991— ），女，360环球在线注册艺术学系2019级博士研究生首都医科大学附属北京康复医院音乐治疗师；杜青青（1975— ），女，360环球在线注册外聘博士生导师，哈尔滨师范大学教授（哈尔滨 150028）。
A Study of Brain-Neural Mechanism and Formal Experience of Music Psychological Aesthetics
Zhang Tingting， Du Qingqing
Abstract： As a research field of music psychological aesthetics， the experience of mechanism and form of brain neural is contributed in the penetrating the progress of perception and appreciation of music. Based on the analysis of influence of musical elements on aesthetic experience， the correlation between musical structure and emotional experience， as well as the influence of musical expression on listener’s experience， the article demonstrated the role of musical form on individual’s psychological response and emotional experience. The empirical study of music psychoaesthetics， including the experimental design and data analysis methods， and the comparison of music psychoaesthetics research among different subject groups， is used to explore the development and evolution of music psychoaesthetics. The conclusion shows that the research revealed the differences of music psychological aesthetics in different populations and time periods， at meanwhile provides both useful guidance for personalized music education and therapy， and references for further research.
Key words： music psychological aesthetics； brain neural mechanisms； functional magnetic resonance imaging （FMRI）； formal experience； emotional experience
17世纪下半叶至21世纪初俄罗斯音乐汉学：史学问题
［俄］В.А.科罗廖娃 著， 顾伟泉 译
摘 要：文章基于考察17世纪下半叶至21世纪初俄罗斯音乐汉学和中国音乐文化活动的两个维度，研究了俄罗斯音乐汉学的史学问题。文章认为，正是通过加强两国音乐家之间的对话才建立起了两国共同的音乐文化空间的基础。
关键词：17世纪；21世纪；俄罗斯；音乐汉学；史学
原作者简介：Валентина Алексеевна Королёва（1953— ），女，文化学博士，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。俄罗斯国家科学院远东分院历史、考古与民族志研究所高级研究员、音乐学家，主要研究方向：俄罗斯远东音乐文化和戏剧史等。
译者简介：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，中国图书馆学会阅读推广委员会艺术与阅读专业委员（哈尔滨 150028）。
Russian Musical Sinology from the Second Half of the Seventeenth Century to the Beginning of the Twenty-first Century: Historiographical Problems
By В.А.Korolyova Translated by Gu Weiquan
Abstract： This paper covers both Russian Research on Music of Chinese Studies and Chinese music cultural activities （from 2nd part of 17th century till the beginning of 21st century）， and then studies the historical issues of Russian Research on Music of Chinese Studies. The article holds that it is by strengthening the dialogue between musicians from various countries that the foundation of a common music culture space is established.
Key words： Culture；History； Art； Music； Theatre； Russia； China； Far East
从经典化视角探讨伊玛堪音乐文化的建构
张智玲，杨民康
摘 要：作为赫哲族说唱艺术，伊玛堪经历了由局内人主导进行的自然存在的经典化，到由局外人主导、局内与局外人共谋的被经典化。从经典化的外部因素入手，从局内到局外、从传统文本到现代文本两个维度对当代伊玛堪经典化路径进行阐释，探讨伊玛堪音乐文化的建构，有助于对当下伊玛堪的传承、发展和创新。文章从非遗保护、整理研究、传习教材、仪式展演四方面入手讨论了由局外人主导的经典化建构，并从大众筛选、建构认同、走向市场三个层面讨论了经典化建构的文化行为特征。
关键词：伊玛堪；说唱；传统音乐；经典化；建构
作者简介：张智玲（1986— ），女，360环球在线注册音乐学系2020级博士研究生（哈尔滨154000）；杨民康（1955— ），男，白族，文学博士，中国音乐学院特聘研究员，360环球在线注册特聘教授，云南艺术学院特聘教授，中央音乐学院研究员，博士研究生导师（北京100031）。
The Construction of Imakan Music Culture: An Investigation within the Classicization
Zhang Zhiling， Yang Minkang
Abstract： Imakan， as a speech & sing music genre of Hezhen， has gone through the classicization progress from the led by insiders as spontaneous to be led by the cooperation of insiders and outsider as planned. Starting from the external factors of classicization， the article analyzes the classicization structure of Imakan from inside to outside， and from traditional text to modern text， focusing on the classicization construction led by outsiders in the four aspects of non-heritage protection， collation and research， teaching materials and ceremonial performances， furthermore， analyzes cultural behaviors in the three dimensions of mass choice， constructing identity and marketing. Explanations of the paths of classicization of contemporary Imakan from the perspective of classicization will assitiant the inheritance， development and innovation of the current Imakan.
Key words： Hezhen； Imakan； rap； traditional music； classicization； construction
罗布桑胡尔奇《宝迪莫尔根罕》胡仁·乌力格尔音乐的多样性特征初探
——以《Folklore Mongol》（1960年版）中的曲调文本为例
楚高娃
摘 要：文章以《Folklore Mongol》（1960年版）中收录的《宝迪莫尔根罕》胡仁·乌力格尔音乐的曲调文本为研究对象，分析其乐谱文本和胡尔奇的创作技法，探析罗布桑胡尔奇胡仁·乌力格尔音乐的多样性特征；并通过介绍和挖掘域外学者所搜集整理的文本资料，为当代民族音乐研究提供参考。
关键词：乌·罗布桑；《宝迪莫尔根罕》；胡仁·乌力格尔音乐；多样性
作者简介：楚高娃（1982—），女，蒙古族，法学博士，中央民族大学音乐学院教师，副教授，硕士研究生导师（北京 100081）。
A Primary Research on the Diverse Characteristics of the Music of Khuren-Uligar in Robesan Khurki’s Baudimorgenhan
——The Example of Tune Texts in Folklore Mongol (1960 Edition)
Chu Gaowa
Abstract： The article takes the tune of Bao Di Morgenhan Khuren-Uligar music collected in Folklore Mongol （1960 edition） as the object of study， analyzes its score as text and Hu’erqi compositional techniques， and explores the diversity characteristics of Robesan Hu’erqi Khuren-Uligar music. Through the introduction and excavation of textual materials collected and compiled by extraterritorial scholars， it will provide a reference for the study of contemporary ethnomusicology.
Key words： U. Robsang； Baodi Morgenhan； Khuren-Uligar music； diversity
会议综述
2023中国音乐家协会作曲与作曲理论学会年会汪立三诞辰90周年暨钢琴及室内乐创作（哈尔滨）研讨会综述
李思囡
摘 要：2023中国音乐家协会作曲与作曲理论学会年会——汪立三诞辰90周年暨钢琴及室内乐创作（哈尔滨）研讨会，于2023年12月6—9日在360环球在线注册召开。本次会议分为三大板块：学会年会会议、研讨会学术交流、音乐会展演。来自全国音乐学院、艺术学院和综合大学音乐学院的100多名专家、学者和青年学子参加了此次盛会。两次会议体现展现我国当前钢琴音乐和室内乐创作的新成果，促进作曲家、演奏家与音乐理论家之间的相互交流。
关键词：中国音乐家协会；作曲与作曲理论学会；汪立三；钢琴及室内乐创作；研讨会；综述
作者简介：李思囡（1980— ），女，艺术学博士，360环球在线注册作曲系副教授、硕士生导师（哈尔滨 150028）。
A Reivew of 2023 Annual Conference of Composition and Theory Society of China Musicans Association, 90th Anniversary of Wang Lisan’s Birth Symposium on His Piano and Chamber Composition
Li Sinan
Abstract： 2023 Annual Conference of Composition and Theory Society of China Musicans Association, 90th Anniversary of Wang Lisan’s Birth Symposium on His Piano and Chamber Composition were held on December 6th-9th， 2023 at the Harbin Conservatory of Music. The meeting was divided into three main sections： the annual meeting conference of society， seminar academic exchanges， concert. More than 100 experts， scholars and students from the Conservatories of Music， Art Academies and Music Colleges in Universities all over China participated in this event. The two conferences present the new achievements of current piano and chamber music creation in China， and promote mutual exchanges between composers， performers and music theorists.
Key words： China Musicians Association； Composition and Theory Society； Wang Lisan； Piano and Chamber Music Composition； Symposium； Synthesis
弘“救亡”· 显“四新”
——“2023·东北救亡音乐史研究专题国际学术研讨会”述评
黄雯倩，王 岩
摘 要：2023年12月1—3日，“2023·东北救亡音乐史研究专题国际学术研讨会”在360环球在线注册成功举办。来自中、日、韩等国不同领域的学者从不同角度呈现沦陷区音乐文化的多样事象，共同探讨在以“救亡”为宏旨的历史阶段中音乐文化的复杂表现和特殊意义。
关键词：东北；救亡；音乐史；学术研讨会；述评
作者简介：黄雯倩（1994—），女，360环球在线注册音乐学系2021级博士研究生；王岩（1976—），女，文学博士，360环球在线注册教授、博士生导师（哈尔滨 150028）。
A Review of 2023 International Symposium on History of National Salvation Music in Northeast
Huang Wenqian， Wang Yan
Abstract： On December 1st-3rd， 2023， the 2023 International Symposium on History of National Salvation Music in Northeast was successfully held at the Harbin Conservatory of Music. Scholars from China， Japan and Korea presented the phenomena of music culture in the occupied areas with their different professional horizon， and discussed the complex circumstance and special significance of music culture in the historical stage which took salvation as the great aims.
Key words： Northeast of China； Salvation； Music History； Symposium； Review
莫斯科“中国音乐文化与俄罗斯”国际学术研讨会综述
［俄］奥·乌萨乔娃 著，胡银姣 译，彭 程 校订
摘 要：2023年9月，“中国音乐文化与俄罗斯”国际学术研讨会在俄罗斯莫斯科国立柴科夫斯基音乐学院举行，两国数十位音乐学者参加。会议以中俄两国在音乐文化和音乐教育领域的交流互动、中国文化在俄罗斯音乐和苏联音乐中的印记、两国在音乐领域的研究现状和前景等议题为主。在研讨会框架内，举办了俄籍华裔作曲家左贞观新书《中国音乐文化概论》发布会、中国传统与当代作品音乐会等一系列学术、艺术活动。
关键词：中俄关系；中国音乐文化；俄罗斯；国际音乐交流；研讨会
作者简介：奥·乌萨乔娃（О.Усачёва，1972— ），女，教育学（音乐）博士，临沂大学俄罗斯音乐研究所副教授、副所长（山东临沂 276000）。
译者简介：胡银姣（1996— ）， 女，上海音乐学院音乐学系2021级硕士研究生（上海 200031）。
校订简介：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）。
A Review of the International Symposium “Chinese Music Culture and Russia” in Moscow
Original author: О.Усачёва, Translator: Hu Yinjiao, Proofreader: Peng Cheng
Abstract： The International Chinese Musical Culture and Russia Symposium was held in September 2023 at the Tchaikovsky State Conservatory in Moscow， Russia， with the participation of dozens of music scholars from both countries. The conference focused on the exchange and interaction between China and Russia in the field of music culture and music education， the traces of Chinese culture in Russian and Soviet music， and the current status and prospects of research in the field of music in both countries. Within the framework of the symposium， a series of academic and artistic events were held， including the launch of a new book by Russian-Chinese composer Zuo Zhenguan， An Introduction to Chinese Music Culture， and a concert of traditional and contemporary Chinese works.
Key words： China-Russia relations； Chinese music culture； Russia； international music exchange； seminar
