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《北方音乐》2022年第1期(改版总第1期)目录与摘要概览

作者: 时间: 2022年01月11日 16:26 点击数:


 

  中俄音乐交流与俄罗斯音乐研究  

 

论俄罗斯的音乐崛起:宏观考察及对中国音乐发展的启示

杨燕迪

  要:文章针对19世纪中叶以来俄罗斯音乐在世界乐坛上的迅速崛起这一历史现象,从宏观思辨的视角讨论作曲家个性风格的形成和凸显对于推动俄罗斯音乐发展的价值和作用。作者进而以穆索尔斯基、拉赫玛尼诺夫和肖斯塔科维奇三位不同时期的作曲家的个性风格和独特贡献为个案例证,阐发了个性风格的内在重要性及对于中国音乐未来发展所具有的意义。

关键词:俄罗斯音乐;音乐创作;个性风格;中国音乐

 

On Rise of Russian Music: Macroscopic Observations and Their Implicationfor Development of Chinese Music

Yang Yandi

AbstractThe article discusses the historical phenomenon of the rapid rise of Russian music in the world music scene since the mid-19th century by way of macroscopic observations,with special reference to value and role of composers’individual styles in promoting the development of Russian music.The author then chooses the individual styles and unique contributions of three composers from different periods,Mussorgsky,Rachmaninoff,and Shostakovich,as case examples,to illustrate the significances of composers’individual styles and their implications for the future development of Chinese music.

Key wordsRussian musicmusic compositionindividual styleChinese music

 

 

苏俄音乐中的中国文化

[俄]左贞观

  要:俄罗斯作曲家(包括苏联时期)创作了一系列以中国形象为主题的作品。文章从概念化的中国到文化上的中国谈起,论述了19世纪作品中概念化的中国20世纪初俄国杰出作曲家谢·瓦西连科(С. Василенко1872-1956)作品中的中国音调、莱·格里埃尔(Р. Глиэр1874-1956)《红罂粟花》中的文化误解、扎杰拉茨基(В. Задерацкий1891-1953)作品中异国文化的精神救赎、侨民作曲家对中国文化的深刻理解,进而论及中苏蜜月期根据中国诗词谱写的声乐作品,跨越民族界限的中国文化,以及左贞观跨越民族文化界限的中国作品

关键词:俄罗斯;苏联时期;作曲家;音乐;中国形象

 

Chinese Culture in Soviet Russian Music

Tszo Chzhenguan

AbstractRussian composersincluding in the Soviet periodcomposed some works that themed Chinese image. Discriminated the “Preconceptualized” China and China in the culture aspect,the rticle discusses the following topicsPreconceptualized “China”themes in the 19th-century Russian music worksthe Chinese tones in the composition of early 20th-century Russian outstanding composer S. VasilenkoС. Василенко1872-1956],the misunderstandings of China culture in R. Gliere’sР. Глиэр1874-1956The Red Poppiesthe redemption of foreign cultures in V. Zaderatsky’sВ. Задерацкий1891-1953worksthe discerning reading of China culture by diaspora composers. And then the author discoveries the vocal works with Chinese poetry composed during the“honeymoon period”of China and the Soviet Union. The authoras a composerintroduces the cross-nationality Chinese culture and explains his“Chinese Work”in this area.

Key wordsRussiaSoviet periodcomposermusicChinese image

 

 

古拜杜林娜的钢琴曲《恰空》

钱亦平

  要:俄裔德籍作曲家索菲娅·古拜杜琳娜(София Губайдулина, 1931-)是当今蜚声国际乐坛的一位“重量级”女性作曲家,她受约并题献给苏联钢琴家玛·维·姆基瓦妮(Марина Викторовна Мдивани,1936-)的钢琴曲《恰空》创作于1962年,出版于1969年。这首作品虽为古拜杜林娜最早期的作品之一,其中爆发的热情、独特手法的冲击、令人回味的意境使人难以忘怀,显示作曲家在初涉作曲领域的奋发有为、昂扬意气和初生牛犊之虎劲。

关键词:索菲娅·古拜杜琳娜;钢琴曲《恰空》;变奏套曲

 

Sophia Gubaidulina’s piano work Chaconne

Qian Yiping

      Abstract Sophia Gubaidulina [София Губайдулина 1931-], Russian-German, now is a predominant influenced female composer in the world. Her commissioned piano work Chaconne, dedicated to the Soviet pianist Marina Viktorovna Mdivani [Марина Викторовна Мдивани, 1936-], was composed in 1962 and published in 1969. Although it is one of Gubaidulina’s earliest works, the Chaconne impressed people since its bursting of enthusiasm, tension upon the unique technique and evocative artistic conception. It not only demonstrates Gubaidulian’s sparky energy and youthful spirit at her beginning in the composition area, but also indicates her future vigor.

      Key words Sophia Gubaidulinapiano work Chaconne Variation Suite Partita

 

 

抗战时期俄苏音乐在中国的传播(上)

  

  要:抗战时期,俄苏音乐在中国出现了一次传播高潮。这一传播高潮以中苏重新修好为背景,呈现出跨越党际、以声乐体裁为主、逐渐向音乐专业内部过渡的传播特点。这一时期俄苏音乐对中国音乐创作产生的影响虽然局限于“旋律层”,且带有明显的实用主义色彩,但是俄苏音乐在微观技术层面促进了中国音乐在技术语言上表达群体情感的准确性,具有象征意义的旋律音调为下一个具有“排他性”的友好序列的最高峰做了一次历史性的铺垫。

关键词:抗战时期;苏联;俄苏音乐;抗战歌曲;传播

 

The Dissemination of Soviet Russian Music in China during the Anti-Japanese War Period

Lin Yuan

     Abstract During the Anti-Japanese War, the dissemination of Russian-Soviet music in China had a climax which based on the restarting diplomatic relations between China and the Soviet Union. This propagating charactered cross parties and transit into professional music area, and the major genre of it is vocal music. Pragmatism obviously, Chinese music is only influenced by Russian-Soviet on melody in this period, but observing the micro composition technique, the Russian-Soviet music promoted Chinese music language on the accuracy expression of masses emotions indeed. The symbolic melody paved the way historically for the next highest friendship peak which is exclusiveness.

     Key wordsAnti-Japanese War periodSoviet UnionRussian-Soviet musicAnti-Japanese War songsdissemination

 

 

  东北亚地区音乐研究  

 

满族萨满祭祖仪式音乐发端的现象学探源

  

       要:现象学之意向性理论是胡塞尔最伟大的发现,是20世纪西方流行的一种哲学思潮,它跳出传统哲学以主客二元模式为前提而展开的哲学思维阈限,在世界范围产生深远影响。意向性揭示了人的意识思维的独特性质和发生根源,揭示了人的意识的被给予性特质。该研究从意向性理论视域对“满族萨满祭祖仪式音乐”进行解读,诠释该仪式音乐发端的被给予性及其仪式音乐生成的背后根源。

     关键词:胡塞尔;现象学;意向性理论;萨满祭祖仪式;仪式音乐;发端

 

The Phenomenological Research of the Manchu Shaman’s Ancestor Fete Music Origination

Guan Jie

     AbstractThe intentionality theory of phenomenology is the greatest discovery of Husserl. As a western popular philosophy tendency in 20th-century, the theory has a profound influence in the world since it broke the liminal mindset of traditional dualistic model philosophy which premised with the subject and the object. Intentionality can not only reveal the unique nature and origin of human consciousness but its peculiarity of givenness. With the intentionality theory, the article explains the Manchu Shaman ancestor fete music, interprets the givenness of its origination and discovers its related root.

     Key wordsEdmund Gustav Albrecht Husserlphenomenologytheory of intentionalityshaman ancestor feteritual music

 

 

由远眺到近观

——我与东北少数民族暨跨界族群音乐研究30

杨民康

  要:三十年来,作者与东北少数民族暨跨界族群音乐学界的不断交往,通过小溪汇河海,润雨细无声的路径,融铸了自己由南而北,由内向外,从中国至周边走向全球的整体艺术观和世界文化观。且经由远眺到环视,再到实际操演的过程,完成了自己涉足东北少数民族暨跨界族群音乐研究与教学的经历和体验。文章结合历次参加中韩、中日音乐学术研讨会,中国与周边跨界族群音乐学术研讨会和指导研究东北、东北亚音乐博士、硕士论文的经历和体验,讨论了相关的研究现状、目前存在的问题和对未来趋向的展望。

关键词: 东北少数民族;跨界族群;研究现状;存在问题;未来趋向

 

Researches on Music of Ethnic Minorities in Northeast China and Cross Ethnic Groups and my Experiences Recent 30 Years

Yang Minkang

     AbstractBased on the constant exchanges with the musicology circle which focus on music of ethnic minorities in northeast China and cross-ethnic groups recent 30 years, the author has gradually formed his individual views of overall art and world culture, which included the research of Chinese southern and northern music, domestic and abroad music that from China and its neighbors to the whole world. Upon the process that from overlook to look around and then practice, the author has completed the research and teaching experience in this area. With the experiences that participating in seminars about China-Korea music, China-Japan music, China and its surrounding cross-ethnic group music, and guiding doctoral and master’s thesis about music of northeast China and northeast Asian,the author also discusses the relevant research status, current problems and prospective tendency of them.

     Key wordsNortheast ethnic minorities; cross-border ethnic groups; research status; existing problems; future trends

 

 

不同文化对话背景下的远东音乐:历史与现实

[俄]В·А·科罗廖娃著,顾伟泉译

  要:文章探讨了不同文化之间的俄罗斯远东地区、中国和日本在音乐空间中的互动问题。作者揭示了在俄罗斯远东文化形成过程中非专业的听众和专业的音乐家,对异己文化的传统音乐的理解程度和感受形式呈现出多层次性的特点,阐述了俄罗斯音乐家对远东地区音乐文化发展所做出的贡献。

关键词:俄罗斯远东;音乐;历史;文化

 

Music of the Far East in the Inter-civilization Dialogue: History and Today

V.A. Korolyova    translated by Gu Weiquan

     Abstract The article scrutinizes the inter-civilizational interaction within the musical sphere of the Far East o Russia, China and Japan. The author reveals the differences in perception and adoption of music of the other cultural tradition by both unsophisticated audience and professional musicians in the framework of forming Russian Far Eastern culture, together with the contribution of Russian musicians to the cultural development of the countries of the Far Eastern civilization.

     Key wordsRussiaFar Eastern musicdifferent cultureshistoryculture

 

 

  音乐学学科前沿研究  

 

教学的分科与研究的综合

——我所向往的音乐分析学

李吉提

  要:音乐作品是由多种作曲技术手段共同结构而成。但音乐学院的作曲技术理论又被分为和声、复调、曲式与作品分析、管弦乐配器等四门课程,其自成系统地分科教授。音乐分析学是打破作曲系从音乐形式结构入手的技术分析与音乐学系的史学、美学、社会学等人文学科中音乐分析之间的隔膜,以实现对音乐作品的本质认识和生动解读。

关键词:音乐分析学;教学;科研;分析;综合

 

Classified Teaching & Integrated Research

 The Music Analytics I Expect

Li Jiti

     AbstractMusic works are structured by a variety of composition techniques. However, the music theory teaching in Conservatory of Music is divided into four courses, i.e. harmony, polyphony, form & music analysis and orchestration, which are taught in individual system. Music analytics aims at breaking the barriers of the analysis methods between composition department and musicology department. The former emphasizes on the technical analysis based on music form and structure, and the latter focuses on humanities such as history, aesthetics, and sociology. So do that, the music analytics will realize the essential exploration and attractive interpretation.

     Key wordsMusic AnalysisTeachingResearchAnalysisSynthesis.

 

 

中国音乐美学:现状与前瞻(上)

罗艺峰

  要:文章观察讨论了21世纪前20年中国音乐美学的现状和存在的突出现象,前瞻拟测了本学科可能的未来发展,提出了中国经典音乐美学、传统音乐美学、中国音乐美学史以及中国音乐思想史诸学科的分立、互融、相楔的学科状态。思辨的问题是:作为最富批判精神、最具思想性质的人文学科,音乐美学如何保持自己的学科品格?理论建设与理论运用是什么关系?介入性美学与自足性美学的意义和价值区别何在?“批判理论”的阙如和不足为什么会影响本学科的发展?本文对中国音乐美学态势的观察,与作者对本学科的期待有密切联系。

关键词:中国音乐美学;现状;前瞻;拟测

 

Chinese Music Aesthetics: Current Situation and Prospects (Part A)

Luo Yifeng

     AbstractScrutinizing the situation and prominent phenomena of Chinese music aesthetics in the first two decades 21st century,the article predicts the possibilities of the discipline. The author suggests its subdisciplines, including Chinese classic music aesthetics,traditional music aesthetics,Chinese music aesthetics history,and the thought history of Chinese music,should be in an independent,integrate,and mutual supporting status. The author also contemplates these questions: As the most critical and ideological humanities,how does music aesthetics maintain its own disciplinary character? What is the relationship between the theory construction and application? What is the difference of the meaning and the value between the interventional aesthetics and self-contained aesthetics? Why do the deficiencies of “critical theory” affect the discipline development? At last, the observation of Chinese music aesthetics research tendency in the article is closely related to the author’s expectations of the discipline.

     Key wordsChinese music aestheticscurrent situationprospectspredicts

 

 

路漫漫兮夜茫茫  行匆匆兮字行行

——音乐学写作并及音乐美学学科语言问题讨论

韩锺恩

  要:文章就理论术语与概念体系问题提出看法,并结合音乐美学专题研讨会有关音乐与语言问题展开讨论。作者认为,音乐学写作必须关注特定术语的概念性建构,而音乐美学也必须建构仅属于其研究对象自身的专属性学科语言。进一步,通过个案作业加以验证,并提出依托学科间性合力推进相关研究的设想。

关键词:音乐学写作;音乐美学;学科语言;学科间性合力

 

Discussion of Musicology Writing para-with Music Aesthetics Discipline Language

Han Zhong’en

     AbstractSurveyed the problem of theoretical terminology and system of concepts, the article discusses the topics of music aesthetics symposium which about music and language. And then the author gives the suggestions: musicological writing must strengthen the conceptual construction of specific term,as well as the music aesthetics should have its own construction that the discipline language should belong to its research object only. Verified through the individual research,the author furthermore proposes that the discipline should rely on interdisciplinary synergy to promote its related research.

     Key wordsMusical WritingLanguage of Music AestheticsInterdisciplinary Synergy

 

 

  音乐史学研究  

 

音乐历史研究中的审美意识及其书写

冯长春

  要:“历史的审美化”和“审美的历史化”的音乐史学观念依然具有值得重视的理论价值。音乐历史研究中审美意识不可或缺,其本质具有诠释学的“效果史”意义。提倡音乐历史研究带有审美意识和美学品格,并非混淆音乐史学与音乐美学的研究范畴和学科边界,而是强调音乐历史研究具有审美体验的温度和美学言说的风度。音乐历史书写的美学言说,可以是基于经验而蕴含审美意识的感性描写,也可以是超于感性经验的美学阐释,抑或是两者的有机交融,同时也是音乐历史中的审美意识和历史音乐的现时审美体验的结合。对于中国近现代音乐史研究而言,这一学术理念具有积极的现实意义。

关键词:音乐史学;审美意识;美学言说

 

The Aesthetic Consciousness and Writing in Music History Research

Feng Changchun

     AbstractThe conceptions “history aestheticization” and “aesthetics historicization” of music historiography are still worthy to be concerned since their theoretical value. As an indispensable element music historiography,the aesthetic consciousness essentially play a role as “effective history” of hermeneutics. To advocate both consciousness and character of aesthetic in music history study does not mean to confuse the research domain and subject boundary between music historiography and aesthetics,but to emphasize that music historiography should have the temperature of aesthetic experience and the demeanor of aesthetic writing. The aesthetic statement of music history can be either a sensory description based on experience which containing aesthetic awareness,or an aesthetic interpretation beyond perceptual experience,even an organic blend of the twos,as well as it is a product that combined the aesthetics awareness in music history with the present aesthetic experience of the past music. For the study of modern Chinese music modern and contemporary history research,this academic idea has its positive practical significance.

     Key wordsmusic history researchaesthetic consciousnessaesthetic speakingperceptual descriptionwriting

 

 

黄泉碧落间 冥河丹亭畔

——昆曲《牡丹亭》与歌剧《奥菲欧》的涅槃往复

杨九华,曹烨程

  要:纵观中西戏剧的漫长发展历程,自滥觞起,便被各自推崇的美学思想浸染。昆曲《牡丹亭》,作为中国戏曲的代表,万古流芳;歌剧《奥菲欧》,作为西方歌剧的源头,意义重大。以两者,因爱而行的地狱涅槃之旅为核心线索。拓展至中西方戏剧的创作角度、题材运用、戏剧理论、音乐描绘等方面之异同。以此探求,中西方戏剧的美学内涵。

关键词:昆曲;《牡丹亭》;歌剧;《奥菲欧》;异同

 

The Nirvana in Kunqu Opera The Peony Pavilion and the Opera Orfeo

Yang JiuhuaCao Yecheng

     Abstract: Throughout the long history developments both of Chinese and Western dramas,they have been immersed in respective aesthetic thoughts since their beginning. As a representative of Chinese opera,The Kunqu Opera The Peony Pavilion has a long time reputation; and the opera Orfeo,as the source of Western opera,is of great significance. Both dramas took the core clue that the journey to the hell and Nirvana for love.  Base on the discussion of the similarities and differences in the creative idea,theme application,drama theory,and music description, the article explores the aesthetic connotation of Chinese and Western drama.

     Key words: Kunqu OperaThe Peony PavilionOperaOrfeoSimilarities and Differences

 

 

  中外现当代音乐创作研究  

 

我国民族歌剧创作的新态势与新局面(上)

——“工程”2017年重点扶持剧目一度创作评析

居其宏

  要:《马向阳下乡记》《青春之歌》《松毛岭之恋》《有爱才有家》《英·雄》《盐神》《蔡文姬》《二泉》《玛纳斯》是文旅部设立“中国民族歌剧传承发展工程”以来首批入选的重点扶持剧目。对它们的剧本和音乐创作特点、艺术得失进行简约评析,以期推动“工程”的进一步健康与繁荣。

关键词:“工程”;2017年度;重点扶持剧目;一度创作

 

The New Tendency and Situation of Chinese National Opera

— Comment and Analysis on the Key Supported Dramas of 2017 · Chinese National Opera Inheritance and Development Project

Ju Qihong

     AbstractThe Operas, Ma Xiangyang Goes to the Countryside, The Song of YouthThe Love of Songmao MountainHome makes LoveHeroine ·HeroSalt God Cai WenjiTwo Springs and Manas are first batch Key Supported Dramas which selected by The Ministry of Culture and Tourism since the establishment of the China National Opera Inheritance and Development Project. Upon the brief analysis of their script and music characteristics, the author estimates their artistic success and failure in general, aimed at promoting the further health development and prosperity of the project.

     Key wordsChina National Opera Inheritance and Development Project; 2017; key supporting repertoires; characteristics of script and music creation; artistic success and failure

 

 

中国现代音乐作曲家的追求

姚亚平

  要:文章从自拟的“可能性追求”话题切入,探讨了中国现代音乐作曲家的音乐追求。在“可能性追求”目光下,音乐具有两重性:审美体现和价值观体现。文章认为,普通公众对现代艺术的种种疑惑和不解,只有在价值观层面上才可以解答。

关键词:现代音乐;西方音乐;作曲家;可能性追求

 

The Pursuit of Chinese Modern Music Composers

Yao Yaping

     AbstractStarted from the individual proposed topic of “presumable pursuit”, the author discusses the pursuit of modern Chinese composers. Surveying with the view of “presumable pursuit”, the author points out that music has duality of expression, i.e., aesthetic and value. This article considers that the general public’s various doubts and incomprehension about modern art can only be answered with the value expression.

     Key wordsmodern musicwestern musiccomposerpresumable pursuit

 

 

诺诺《中断的歌》第六乐章的结构组织

  

  要:诺诺《中断的歌》是一部形式与内容完美契合的作品,基于题材及内容表达着眼于理性构建,铸就形式之美,整体序列结合数理逻辑的运用,彰显其缜密的构思,器乐、声乐并举形式多样,展现丰富的音响色彩。本文以第六乐章为例,从乐队编制、音高、声部的进入与退出、节奏等方面进行探究,揭示音乐各要素的结构组织及特征,挖掘其理性构建的内在秩序,进而达到进一步理解音乐作品、理解作曲家创作意图启示音乐创作的目的。

关键词:诺诺;《中断的歌》;整体序列;数理逻辑;结构

 

The Structural Organization of the Nono’s Il canto sospeso, Mov. VI

Zhang Lei

     AbstractNono's Il canto sospeso is a work balanced the form and content perfectly, its beauty of form is created upon the themed content expression and focus of rational construction. Incorporated with the mathematical logic, the use of integral serial demonstrates the meticulous conception. Orchestrated both with instrument and vocal variously, the work exhibits abundant acoustic colors. Selected the sixth movement as an example, this author scrutinizes the instrument quantity of orchestration, pitch, the entry and exit of parts, rhythm, etc. to reveal the structural organization and characteristics of each element of music, and then explores the internal order of its rational construction. So that the article achieves a further purpose that enlighten music creation based on the comprehending of the works and the composer’s creative intentions.

     Key wordsLuigi NonoIl canto sospesointegral serialmathematical logicstructure

 

 

  学术会议综述  

 

“磬”国际会议上的中国音乐展示与研究述评

  

  要:“磬”国际学术研讨会专事中国音乐文化研究成果的交流。前6届会议显示了以中国及周边地区(有时候甚至扩展到世界各地)过去和现在局部音乐文化现象考察、分析成果,包括传统音乐各个方面、现代音乐创作等相关乐人乐事,逐渐形成相对稳定的模式,为随后各届研讨会奠定了基础。将第19届会议作为个案考察,可以发现各种形式的交流细节,也提供了需要深入思考的线索,包括外国学者的兴趣点,他们如何看待中国音乐现象等。作为民间组织的国际会议,中外学者和音乐家参与交流,对中国音乐文化的国际传播产生了直接影响。当然,这种方式的研讨、展示和传播往往是碎片化、随机性的,并有各种“误读”,但其可以为我们的相关研究提供他者视角的参照。

关键词:“磬”;中国音乐;国际传播;他者视角

 

A Summary of Chinese Music Exhibition and Research on the International Chime Conference

Song Jin

     Abstract The International Chime Conference specializes in the exchange of Chinese music culture research. The first six conferences had presented the investigation and analysis achievements of music cultural phenomena in the past and current China and its surrounding areas (some even included the other areas in the world), covered the various aspects of traditional music, modern music creation,related musicians and events,etc. The Conference has gradually formed a relatively stable model which provided a foundation for the subsequent seminars. Took the 19th Symposium as a case study,the article expounds the various details of the communications in order to provide clues that required in-depth thinking (including the interesting of foreign scholars and how they view the phenomenon of Chinese music,etc.). Scholars and musicians from domestic and abroad communicated at this international Conference which of a non-governmental organizations,their exchange activities will promote the Chinese music culture dissemination in the world. Although the discussion, display, and dissemination in this way are often fragmented,random,and even some “misinterpreting”, they still provide the others’ perspectives as reference for our related research .

     Key words chimeChinese musicinternational communicationthe perspective of others

 

 

音乐与语言·言说音乐的无限可能

——2021·中国音乐美学学会专题研讨会会议综述

马卫星,梁  

  要:2021年6月25日-27日,由中国音协音乐美学学会发起,哈尔滨音乐学院主办,哈尔滨音乐学院音乐学系承办的“2021·哈尔滨·中国音乐美学学会专题研讨会在哈尔滨音乐学院隆重召开。本届会议以“音乐与语言”为主题,基于学理性、历史性、实践性、现代性等研究维度,围绕现代性视域下“音乐能否言说”“音乐如何言说”等音乐美学核心议题展开研讨,立足于中国音乐美学的理论深耕与实践创新进行多元视角的审视与思考,对推进中国音乐美学学科的建设与发展具有现实意义。

关键词:中国音乐美学学会专题研讨会;音乐与语言;多元视角;学理基础;综述

 

Music and Language, the Infinite Possibilities of Speaking Music

 Summary of 2021· China Music Aesthetics Society Symposium

Ma WeixingLiang Shuai

     AbstractInitiated by the Music Aesthetics Society of the Chinese Musician Association, hosted by the Harbin Conservatory of Music, and undertaken by the Department of Musicology of the Harbin Conservatory of Music, the “2021·Harbin·China Music Aesthetics Society Symposium” held on June 25-27, 2021. The theme of this Symposium is “Music and Language”. Based on the research scope of rationality, historicity, practicality and modernity, the Symposium centered on the core issues of music aesthetics such as “Can music be spoken” and “How music can be spoken” which in the perspective of modernity. Multi-prospectively scrutinizing and deliberating the intensification of Chinese music aesthetic theory and the innovation of practice, the Symposium presents the practical significance of the construction and development of Chinese music aesthetics.

     Key words2021, China Music Aesthetics Society SymposiumMusic and LanguageDisciplinary OrganizationSummary

 

 

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