歌剧与俄罗斯音乐研究
论莫扎特歌剧的艺术成就：批评与诠释
杨燕迪
摘 要：文章基于前人的研究文献和批评观点，对莫扎特的歌剧创作成就进行系统性的批评解读和价值诠释。全文以意大利正歌剧、意大利喜歌剧、德语歌唱剧三个彼此区别但又有联系的体裁类型为论述依据，对莫扎特最具代表性的歌剧剧作的艺术品质与突出特点做出分析和评价，并对莫扎特歌剧创作的艺术特征、历史意义和审美价值进行了归纳和总结。
关键词：歌剧史；歌剧批评；莫扎特；意大利正歌剧，意大利喜歌剧，德语歌唱剧
作者简介：杨燕迪（1963— ），男，360环球在线注册教授、上海音乐学院教授，博士研究生导师（哈尔滨 150028）。
A Critical Interpretation of Artistic Achievements of Mozart’s Operas
Yang Yandi
Abstract： Based on the previous researches and critical views， this article provides a systematic criticism and value interpretation of Mozart’s achievements in opera. Focus on the three main contemporary opera genres， opera seria， opera buffa and Singspiel， which are different from yet related to each other， the author analyzes and evaluates the artistic qualities and outstanding features of Mozart’s opera canon， and summarizes the artistic characteristics， historical significance and aesthetic value of Mozart’s operatic oeuvre.
Key words： opera history； opera criticism； opera aesthetics； Mozart； Italian Orthodox Opera； Italian Comedy； German Singing Opera
感性学与辩证思维视域下中国歌剧形象塑造思维新探
邱桂香
摘 要：感性学包含着审美与审丑两个带有辩证意味的层面。文章从感性学与艺术辩证法视角出发，重思歌剧形象美学范式/类别，揭示部分中国歌剧形象塑造中存在的单向度思维倾向，结合西方经典歌剧形象塑造经验，提出歌剧形象塑造辩证法理念，凝练歌剧形象塑造的一体多元原则，讨论歌剧形象塑造得当与否的评价尺度，探索通过具有辩证思维特征的博弈思维和阴阳思维塑造一体多元歌剧形象的戏剧-音乐达成路径，对歌剧形象塑造中的审美与审丑问题进行辨析，并讨论与此相关的音乐风格问题。
关键词：中国歌剧；歌剧形象；思维；感性学；一体多元；辩证思维
作者简介：邱桂香（1979— ），女，文学博士，福建师范大学中国特色西方音乐研究中心教授，硕士研究生导师（福州 350007）。
A New Aesthetics and Dialectic Exploration of Chinese Opera Figure Building Thinking
Qiu Guixiang
Abstract： Aesthetics contains dialectical meanings， i.e. judgement of beauty and ugly. So， with the view of aesthetics and artistic dialectics and upon the survey of the aesthetic paradigm or category of Chinese opera image， the article reveals somewhat tendency of unidirectional thinking of its shaping. Combined of the experience of western classic opera creation， the author puts forward the idea of dialectical method and condenses the principle of shaping the diversified face in a single opera image， furthermore， considers the evaluation standard for the proper image building. Upon the exploration of the path of theater-music achievement that shaping the diversified face in a single opera image through the dialectical game and Yin-yang thinking， the article discriminates the beauty and ugly in aesthetic and discusses the related music style issues of the opera figure building.
Key words： Chinese Opera； Opera Image； Thinking； Aesthetics； Diversified face in a single image； Dialectical Thinking
多样的艺术品貌：柴科夫斯基的合唱艺术
孙兆润，王 飞
摘 要：合唱作品在柴科夫斯基的创作中并不占据主要的位置，但却贯穿在他整个创作生涯之中，在无伴奏合唱、康塔塔和歌剧中的合唱，均存留有经典。其合唱作品的内容，涵盖了宗教与世俗两个领域，并成为俄罗斯音乐文化宝库中的重要组成部分，对后世音乐创作产生深远的影响。文章对柴科夫斯基合唱创作的风格特征及其成就进行耙梳，钩沉抉微，为评价柴科夫斯基的合唱作品，提供了新的文献材料。
关键词：柴科夫斯基；无伴奏合唱；康塔塔；歌剧合唱；风格特征
作者简介：孙兆润（1972— ），男，音乐艺术博士，360环球在线注册副教授（哈尔滨 150028）；王飞（1980— ）男，自由职业者，2003-2008年就读圣彼得堡国立文化艺术大学、俄罗斯国立师范大学，获合唱指挥硕士学位，2008-2009年留校任合唱指挥教师（北京 100021）。
Diverse Artistic Character: Tchaikovsky’s Choral Art
Sun Zhaorun， Wang Fei
Abstract： Tchaikovsky’s Choral works only occupy a minor position of his outputs， but they have impenetrated all his career and maintained as classics in the genres of cappella， cantatas and operas. Both his religious and secular choral works have been an important part of the treasure trove of Russian music and culture， and a profound influence on the musical creation of later generations. The analysis of the stylistic features of these works and summary of his achievements in the article provides new documentary for the evaluation of Tchaikovsky’s choral works.
Key words： Tchaikovsky； a cappella； cantata； opera chorus； stylistic features
中国音乐史研究
20世纪上半叶汉口歌舞厅景况
田可文，张 敏
摘 要：随着1861年汉口的开埠，西洋音乐也随西方文化逐步东来汉口，汉口的娱乐行业也发生巨大变化。各色新式娱乐场所在汉口涌现，使西方歌舞厅文化在汉口得以传播。文章透过这些歌舞厅的设立、舞女的成分、舞厅的爵士乐，以及汉口的禁舞，论及20世纪上半叶汉口歌舞厅那商业、娱乐、媚俗等特点的非主流的“副文化”景况。
关键词：20世纪上半叶；汉口；歌舞厅；景况
作者简介：田可文（1955— ），男，武汉音乐学院音乐学系教授、博士研究生导师，360环球在线注册特聘教授，江汉大学武汉城市音乐文化研究院高级研究员（武汉 430060）；张敏（1981— ），女，文学硕士，贵州大学音乐学院讲师（贵阳 550025）。
Hankou Cabarets Culture Landscape in the First Half of the 20th Century
Tian Kewen， Zhang Min
Abstract： Since its opening as an international business port in 1861， Hankou was accepted western culture as well as music gradually， so as to the entertainment industry underwent great changes. As distinct new entertainments were flushed in， western cabaret culture had promulgated in Hankou. Based on the researches on the establishment of dance halls， the rank of the dancers， jazz music and forbidden dancing in it， the article discusses the subculture landscape of the Hankou’s cabarets in the first half of the 20th century， which as the nonmainstream that characterized as the business， entertainment， and kitsch.
Key words： the first half of the 20th century； Hankou； cabaret； Culture Landscape
中苏“蜜月期”（1954—1960）钢琴家李赫特访华音乐外交考
明 鑫，左贞观
摘 要：文章用音乐政治学原理与方法，通过当时官媒报道、档案史料、各界评论史料，回顾与论述中苏“蜜月期”（1954-1960）所发生的音乐外交事件，还原钢琴大师李赫特访华演出的始末，阐述其访华演出的政治意义、社会影响。文章认为，李赫特在中国的演出，强化与促进了我国音乐创演中社会主义现实主义传统与中国音乐的民族性。文章认为，我们可以借鉴苏联时期音乐外交逻辑，来丰富区域国别学研究的中国音乐维度，以促进中国音乐的民族性（“中国风味”）创演风格的传承。
关键词：中苏“蜜月期”；李赫特；音乐政治学；音乐外交
作者简介：明鑫（1985— ），女，上海外国语大学英语学院2023级博士研究生（上海 200083）；［俄］左贞观（1945— ），男，俄籍华裔作曲家、俄罗斯功勋艺术家、“友谊勋章”获得者、俄罗斯爱乐乐团团长（俄罗斯 莫斯科 125319）。
A Research of Pianist Richter’s Visiting as Music Diplomacy During theHoneymoon Period （1954-60）of China and the Soviet Union
Ming Xin， Zuo Zhenguan
Abstract： Using the principles and methods of music politics， the article reviews and discusses the music diplomacy events in the Sino-Soviet honeymoon period （1954-60） through the official reports， archives， and various commentaries. Based on the representation of Richter’s visiting process， the author explains its political significance and social impact， i.e.， it strengthened and promoted the tradition of socialist realism and nationality of our music creation and performance. The author suggests that the borrowing of the idea of the music diplomacy in the Soviet period would not only enrich the area of Chinese music in the researches of regional country studies but also promote the creation and performance of Chinese national style and taste works.
Key words： Sino-Soviet “honeymoon period”； Richter （Святослав Теофилович Рихтер， Sviatoslav Teofilovich Richter， 1915-1997）； music politics； music diplomacy
宋代乐钟乐制之衍变
徐 蕊
摘 要：入宋以后，朝堂有关乐钟的争议频发。在宋代乐钟既承载着雅乐乐制，又承载着国家礼制，乐钟成为了雅乐的核心乐器。文章论述宋代乐钟发展脉络，厘清宋代青铜乐钟发展轨迹，疏证宋代乐钟乐制的不同观点。宋代有关乐钟乐制的争议，成为了音乐史上独特的文化现象，也是当时政治纷争与时局稳固或风雨飘摇在音乐上的表现。
关键词：宋代；乐钟；乐制；争论
作者简介：徐蕊（1981— ），女，艺术学博士，苏州科技大学音乐学院副教授（江苏 苏州 215009）。
The Derivation of the Song Dynasty’s Musical Bell System
Xu Rui
Abstract： From the Song Dynasty， there were frequent controversies about the Yue Zhong ［musical bell］ in the imperial court. Since the Yue Zhong carried both the musical system of Ya Yue ［elegant music］ and the national ritual system， it became the core musical instruments of the former. Based on the demonstration of its development， especially on clarification the trajectory of bronze Yue Zhong in Song Dynasty， the article discussed the different views of its musical system. The author considers that the controversy became a unique cultural phenomenon in the history of music， and was also a manifestation of the politic strife and social situation on music area.
Key words： Song Dynasty； Yue Zhong ［musical bell］； musical system； controversy
以图述史
——中华民族多元一体视域下的筝乐文化研究
杨 佳
摘 要：本文通过对筝乐图像的梳理，以单件乐器为切入点，从中华民族多元一体的文化视角，运用图像学、史学及民族音乐学的研究方法，探讨图像背后的筝乐文化现象。关注筝乐历时性传承发展过程，同时又关注筝乐共时存在的形态现象，梳理筝在中华民族多元一体的文化格局中相互吸收、互补创新的文化变迁脉络，为音乐图像志、乐器志研究以及跨学科建设提供理论依据与个案支撑。
关键词：筝；多元一体；图像
作者简介：杨佳（1982— ），女，艺术学博士，中国音乐学院《中国音乐》编辑 （北京 100101）。
Narrating History with Image: A Culture Study of Zheng Music in the Perspective of the Integration of Chinese Pluralistic Nations
Yang Jia
Abstract： Utilizing the research methods of iconography， historiography and ethnomusicology， and taking a typical music instrument Zheng based on combing its images as entry， the article aimed at to discuss its cultural phenomenon from the cultural perspective of the integration of Chinese pluralistic nations. Focused on the diachronic development of Zheng， at meanwhile its synchronous phenomenon that manifested on the types and forms， the author logically sorted out the changes of the Zheng which upon the absorbed and complemented mutually in the fundament of the pluralistic integration progress， so as to provide support as theoretical basis and case study for the research of music iconography， musical instrumentation as well as the construction of interdisciplinarity.
Key words： Chinese Nations， Integration of Pluralistic； Zheng music； image； cultural phenomenon
音乐民族学研究
汉畲交融 文化共相
——客家“跳觋”仪式音声的互文性与三重文化认同
董晓梅，罗钢芹
摘 要：“跳觋”仪式中的仪程仪轨、客家念唱、客家山歌等音声文本均是客家汉民语境下的语义表达，体现了客家汉民对中原汉族传统文化的承继与认同；而仪式外显形态中融入的吹龙角、敲觋锣、跳巫舞、畲族歌谣等音声文本则是客家畲民语境下的语义表达，体现了客家畲民对本土畲巫信仰的承袭与坚守。“跳觋”仪式音声的互文性建构与表达，实际上是客家社会汉畲族群文化之间的一种互动、妥协与重构，其目的是建构一种汉畲族群具有认同性的“文化共相”，以达成客家社会对族群、区域、国家的三重文化认同功能。
关键词：“跳觋”；客家；仪式音声；汉畲文化；互文性；文化认同
作者简介：董晓梅（1979— ）女，文学硕士，嘉应学院音乐与舞蹈学院副教授；罗钢芹（1978— ）男，文学硕士，嘉应学院音乐与舞蹈学院副教授（广东 梅州 514000）。
Han-She Intermingling and Cultural Convergence
——The Intertextuality and Triple Cultural Identity of Hakka Tiaoxi Ritual Sound
Dong Xiaomei， Luo Gangqin
Abstract： The audio， as text in the propriety and procedure， Hakka chanting and Hakka Shan’ge ［mountain song］ in the Tiaoxi ［wizard jumping ritual］ are semantic expressions in the context of the Hakka Han people as reflecting their inheritance and identification with the traditional Han culture of Central Plains； whereas the explicit gesture the ceremony， such as the Longjiao ［dragon horns］ and Xiluo ［wizard’s gong］ performance， Wuwu ［wizard’s dance］ and Shezu Geyao ［She ethnic goroup ballad］ are semantic expressions in the context of the Hakka She people as manifesting their inheritance and adherence of the local Shewu ［She wizard］ belief. Actually， the intertextual construction and expression of the Tiaoxi sound is a kind of interaction， compromise， and reconstruction between the cultures of the Han and minority She in Hakka society， with the goal of constructing a cultural commonality with which the Han and minority She can identify， in order to achieve the triple cultural identity of the Hakka society with respect to the ethnic group， the region and the country.
Key words： Tiaoxi； Hakka； ritual sound； Han-She culture； intertextuality； cultural identity
一份来自“亚太地区民族音乐文化概论”课程的日常作业
——玛哈沙拉堪大学音乐学院敬师仪式实录考察侧记及其他
杨丰盛
摘 要：敬师节是泰国一年一度的重要的仪式活动之一，整个活动过程中离不开泰国传统音乐的参与。本文主要是笔者针对泰东北玛哈沙拉堪大学音乐学院举办的敬师仪式的两次考察。敬师仪式是泰国传统音乐文化的一个缩影，通过该仪式的描述与阐释，藉此可以使读者对泰国音乐有一个初步的认识。另外，敬师仪式中的整个泰国音乐的传承模式可以对中国传统音乐的传承与传播有较深的启示。
关键词：敬师节；敬师仪式；玛哈沙拉堪大学音乐学院；泰国传统音乐
作者简介：杨丰盛（1991— ），男，哲学博士，常熟理工学院师范学院音乐系讲师，河南大学在站博士后（合作导师：陈文革）（江苏 常熟 215506；河南 开封 475001）。
A Daily Assignment of the Course Introduction to Ethnomusicology in the Asia-Pacific Region
——Observations Recording of the Wai Khru in Music College of Mahasarakham University and the Others
Yang Fengsheng
Abstract： This paper focuses on the author’s two participation of the Wai Khru ［Teachers’s Day］， one of the most significant Thailand annual festivals which the traditional Thai music is indispensable in the whole process， that organized by the Faculty of Music of Mahasarakham University in the Northeastern. As a microcosm of Thai traditional music culture， the description and interpretation of the Wai Khru provides a preliminary understanding of Thai music. In addition， the mode of transmission of the whole Thai music in the Wai Khru will inspire the transmission and dissemination of Chinese traditional music.
Key words： Wai Khru； ceremony of respecting the teacher； College of Music， Mahasarakham University； Thai traditional music
音乐作品研究
“诗意江南”在我国钢琴三重奏中的音响塑造
——以“吴越新韵”的四部作品为例
张一琼
摘 要：“诗意江南”是一个充满诗意和艺术魅力的地域文化符号，既体现了江南地区独特的自然风光和人文景观，又凝聚了中华民族深厚的文化底蕴和审美传统。因此，“诗意江南”作为一个重要的题材和灵感来源，吸引着众多作曲家进行探索和实践。本文将“吴越新韵”创作团队以此为主题创作的四首钢琴三重奏作品作为主要研究对象，通过对作品中音响塑造的手段进行研究，探索地域文化符号的呈现方式及其背后的文化内涵。
关键词：诗意江南；吴越新韵；钢琴三重奏；音响塑造；地域文化
作者简介：张一琼（1984— ）， 女，艺术学博士，浙江音乐学院作曲与指挥系讲师（杭州 310024）。
The Sound Shaping of Poetic Jiangnan in Chinese Piano Trios
——Taking Four Works of the New Rhythm of Wu-Yue as an Example
Zhang Yiqiong
Abstract： As regional cultural symbol which is full of poetry and artistic charm， Poetic Jiangnan ［regions south of the Yangtze River］ not only reflects the unique natural scenery and humanistic landscape of Jiangnan region， but also unites the profound cultural heritage and aesthetic tradition of China. Therefore， also as an important theme and source of inspiration， it has attracted many composers to explore and then invent with it. Taking the four piano trios on this theme which composed by the composition team Wuyue New Rhythm as the main objects， the article explores the presentation of regional cultural symbols and their cultural connotations through the study of the means of sound shaping in the works.
Key words： Poetic Jiangnan； Wuyue New Rhythm； Piano Trio； Sound Shaping； Regional Culture
古蜀文明的音、声、形之描绘
——管弦乐作品《金声玉笛·纵目》的音乐语言
周 姝
摘 要：作为长江上游古代文明的中心区域，古蜀文明所展现出的飘逸诡秘与神秘威仪引发了当代作曲家的无穷想象与个性化创作之声。作曲家杨晓忠的管弦乐作品《金声玉笛·纵目》引入具有古蜀文明隐喻意义的乐器，用本土与异域文明交融的独特古蜀文化符号，塑造出兼具神秘与浪漫特征的音响氛围与音乐语汇。文章从“形”之意象、“音”之特色与“声”之概念三个角度出发对作品《金声玉笛》进行分析，力图全方位呈现作曲家对古蜀文明的瑰丽想象与细致描绘，并解读作曲家在塑造古蜀文明之音声秘境时所采用的具体思路和创作手法。
关键词：古蜀文明；主题意象；《金声玉笛·纵目》；文化融合
作者简介：周姝（1991— ），女，艺术学博士，四川音乐学院作曲系青年教师（成都 610021）。
A Portrayal of Music, Voice and Figure of Ancient Shu Civilization
——The Musical Language of Golden Sound and Jade Flute, Zongmu for Orchestra
Zhou Shu
Abstract： As the center of the ancient civilization in the upper reaches of the Yangtze River， Ancient Shu ［an ancient kingdom in what is Sichuan Province today］ civilization inspired the infinite imagination and personalized creative voice of contemporary composers as its elegant enigma， mysterious and impressive manner. Yang Xiaozhong’s Golden Sound Jade Flute， Zongmu ［A monstrosity in ancient legend］ for orchestra introduces ancient Shu civilization instruments with metaphorical significance， and shapes the acoustic atmosphere and musical vocabulary with both mysterious and romantic features by using the unique cultural symbols of ancient Shu， which is a fusion of the local and exotic civilizations. Aimed at presenting the composer’s magnificent imagination and detailed description of the ancient Shu civilization in a comprehensive way， the article analyzes the Golden Sound and Jade Flute from three aspects： the imagery of the figure， the characteristics of music and the concept of voice， and then interprets the special idea and technique of creating of secret music and voice landscape of Ancient Shu civilization.
Key words： Ancient Shu Civilization； Golden Sound and Jade Flute， Zongmu； Cultural Integration
系统音乐学研究
爱丁堡艺术节的美学特性与传播评析
曹丽丽，马卫星
摘 要：爱丁堡艺术节是每年夏季在英国爱丁堡举行的国际艺术节。爱丁堡艺术节在其发展之中传递出的音乐传播美学特质，既实现了音乐思想、知识、信息的传播与交流行为，也彰显出城市地域特色、公众认同程度、资源整合能力以及音乐传播影响力，其在音乐创意表达上带给世界观众深远的时代价值。关于爱丁堡艺术节音乐传播美学的学术研究中，同样存在现实问题的追问：其艺术传播本质是什么？爱丁堡艺术节在公众与艺术节之间究竟如何诉诸情感？其传播具有怎样的功能和价值？文章聚焦爱丁堡艺术节传播的影响力，探讨其传播理念，诠释其美学与时代价值。
关键词：爱丁堡艺术节；艺术观念；传播；美学；价值
作者简介：曹丽丽（1980— ），女，360环球在线注册副教授，在读博士研究生；马卫星（1958— ），女，360环球在线注册教授，博士研究生导师（哈尔滨 150028）。
An Analysis of Aesthetic Characteristics and Its Disseminations of the Edinburgh Festival of Arts
Cao Lili， Ma Weixing
Abstract： The Edinburgh Festival is an annual international arts festival held in Edinburgh， England in August. Its manifestation of the aesthetic quality of music disseminations in the development has not only realized the promulgation and exchange of music ideas， knowledge and information， but also demonstrated the city’s regional characteristics， the degree of public acceptance， the ability to consolidate resources and the influence of music communication， as well as has brought far-reaching value to the world’s audience in terms of its creative expression of music. In the research on the aesthetics of music dissemination of the Edinburgh Festival， there are also realistic questions： what is the nature of its artistic dissemination？ How does it appeal to the emotions between the public and itself？ What are the functions and values of its dissemination？ The article focuses on the influence of the Edinburgh Festival’s dissemination， discusses its dissemination idea， and interprets the value of its aesthetic and contemporary values.
Key words： Edinburgh Festival； art idea； communication； aesthetics； value
音乐社会学（上）
［加拿大］约翰·谢泼德著，江松洁译
摘 要：文章译自英语世界权威音乐工具书《新格罗夫音乐与音乐家辞典》（2001）中的“音乐社会学”条目。该条目的作者约翰·谢泼德是当今国际上音乐社会学研究领域的领军学者之一，目前任职于加拿大渥太华卡尔顿大学。该条目内容大致可分为四部分，分别论及音乐社会学的社会学学理基础、学科历史、学科特点，以及该领域当前的四个主要研究方向，即音乐的社会意义、音乐作为社会互动、音乐作为社会认同，以及音乐作为商业化与工业化过程研究。作者对音乐社会学领域的重要学者及其代表作、观点均有简要述评。本中译文是该条目在国内的首次完整呈现，相信这将为国内的音乐社会学研究增添一份重要参考文献。
关键词：音乐社会学；辞典条目；《新格罗夫音乐与音乐家辞典》（2001）；中译文
译者简介：江松洁（1983— ），女，文学博士，四川大学艺术学院讲师（成都 610065）。
Sociology of Music (Part A)
By John Shepherd， translated by Songjie Jiang
Abstract： This translation is translated from the “Sociology of Music” entry in the New Grove Dictionary of Music and Musicians （2001）， an authoritative music reference book in the English-speaking world. The author of this entry，John Shepherd，is one of the leading scholars in the field of music sociology in the world，and is currently working at Carleton University in Ottawa， Canada. This entry can be roughly divided into four parts， which respectively discussed the theoretical basis， history and characteristics of music sociology as a discipline， and its four main directions of current research， namely： music as social meaning， music as social interaction， music as social identity， and music as commercial and industrial process. The author briefly reviewed the important scholars in the field of music sociology and their representative works and viewpoints. This Chinese translation presents the whole entry for the first time in China. It is believed that this translation will become an important new reference to the study of music sociology in China.
Key words： sociology of music；dictionary entry；New Grove Dictionary of Music and Musicians（2001）； Chinese translation
