中俄音乐交流与俄罗斯音乐研究
中苏友好语境下《人民日报》(1949-1960)音乐报道研究
李 然
摘 要：在1949至1960年的《人民日报》中，“苏联”成为音乐报道中出现频次最高的词汇之一。其报道为我们提供了中苏音乐交流事件的记录，以及对所处时代产生最大影响的各种观点，为研究音乐在特定文化语境中的被使用方式和使用效果提供了文本依据。从音乐报道数量、版面分布、报道内容、报道模式与社会语境或隐或显的关系中，发现中苏音乐交流包含多维的指向和动态，人际互动与媒介传播的叠加有效强化了音乐的社会认同。
关键词：《人民日报》;中苏友好;音乐交流;大众媒介
作者简介：李然（1978—），女，文学博士，哈尔滨音乐学院音乐学系教授，博士生导师（哈尔滨 150028）。
Research on Reports of Music of People's Daily (1949-1960) in the Context of
Sino-Soviet Friendship
Li Ran
Abstract：In the People's Daily from 1949 to 1960，“Soviet Union”was one of the most frequently used terms in music coverage. Since these reports recorded the Sino-Soviet music exchange events as well as various viewpoints that immensely influenced on the time，they provide literature basis for the research on the ways and effects of music activities in the specific cultural context. Upon the quantity and content of the music reports，the pages layout they occupied，the relationship between the reports style and implicated or explicated social context，the author observes that Sino-Soviet music communication activities assumed multidimensional orientations and developments，and the social identity of music is strengthened availably by the cooperation of interpersonal and media communications.
Key words：People's Daily；Sino-Soviet friendship；music exchange；mass media
抗战时期俄苏音乐在中国的传播(下)
林 媛
摘 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
作者简介：林媛（1978—），女，文学博士，哈尔滨音乐学院教授、博士生导师（哈尔滨 150028）。
The Dissemination of Soviet Russian Music in China during the Anti-Japanese
War Period（Part B）
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 words：Anti-Japanese War period；Soviet Union；Russian-Soviet music；Anti-Japanese War songs；dissemination
“爱尔兰的俄罗斯人”
——约翰·菲尔德对俄罗斯钢琴艺术发展的影响
孙兆润
摘 要：从19世纪下半叶开始，俄罗斯钢琴艺术迅速崛起并形成占据世界钢琴艺术重要一极的俄罗斯钢琴学派。短短二百余年间，俄罗斯钢琴演奏大师人数之多，钢琴经典作品数目之众、质量之高令人瞩目。在创作民族性、表演风格化上，俄罗斯钢琴艺术鲜明的辨识力和美学气质，俄罗斯钢琴学派富有生命力的教育教学传统和强大的国际传播力，都对世界钢琴艺术发展作出了重大的贡献，同时也对建设中国乐派的伟大构想具有重大的启示意义。这一切得益于约翰·菲尔德等在俄罗斯土地上生活和活动的欧洲钢琴艺术的早期拓荒者和布道者。本文以18-19世纪的俄罗斯音乐文化为宏观背景，从约翰·菲尔德作为作曲家、演奏家和教育家三个方面展开论述，以翔实的俄罗斯史料为依据，对菲尔德在俄罗斯钢琴艺术发展中产生的重要影响进行客观定位和详细论证。
关键词：约翰·菲尔德;俄罗斯钢琴艺术发展;影响
作者简介：孙兆润（1972—），男，俄罗斯国立师范大学音乐艺术博士，哈尔滨音乐学院副教授（哈尔滨 150028）。
“A Russian of Ireland”
—John Field’s Influence on the Development of Russian Piano Art
Sun Zhaorun
Abstract：From the second half of the 19th century，Russian piano art rapidly emerged and formed the Russian piano school，which occupies an important pole of the world piano art. In just 200 years，the number of Russian piano masters and the quantity and quality of their classical works are remarkable. The distinctive recognition and aesthetic quality of the Russian piano art in terms of the ethnicity of composition and stylization of performance，the vibrant tradition of education and teaching of the Russian piano school and its strong international dissemination have all made significant contributions to the development of the world piano art，as well as being of great inspiration to the great idea of building the Chinese school. All this was made possible by the early pioneers and preachers of European piano art who lived and operated on Russian，such as John Field. Taking the Russian musical culture of the 18th-19th centuries as a macro background，this paper discusses John Field as a composer，performer and educator in three aspects，and based on informative Russian historical materials，it objectively positions and argues in detail the important influence that Field made in the development of Russian piano art.
Key words：John Field；the development of Russian piano art；influence
中国音乐史研究
哈尔滨音乐团体及其活动特征考析(1932-1945)
王 岩
摘 要：1932年2月哈尔滨沦陷之后，日本逐渐控制了当地的文化生活。此时期，产生了不同性质与目的的音乐团体，其活动情况亦各有不同。文章通过对这些音乐团体的历史考察，通过分析其活动特征，局部还原沦陷期哈尔滨的音乐生活，进而分析当时日伪统治者的殖民文艺政策对哈尔滨音乐文化发展产生的影响。
关键词：沦陷时期;哈尔滨;音乐团体;活动特征
作者简介：王岩（1976—），女，文学博士，哈尔滨音乐学院教授、博士生导师（哈尔滨 150028）。
An Examination of Harbin Music Groups and the Characteristics of
Their Activities (1932-1945)
Wang Yan
Abstract：After the fall of Harbin in February 1932，Japan gradually took control of its local cultural life. During this period，music groups of different property and purposes emerged，so their activities were different. The article examines the history of these music groups and concludes their activities，partially represents the musical life of Harbin during the fallen period，and then analyzes the influence of the colonial literature and art policies of the Japanese rulers on the development of Harbin's music and culture.
Key words：fallen period；Harbin；music groups；characteristics
对“隐册”的中国近代音乐家研究范式的求证
陈 永
摘 要：21世纪以来，以汪毓和、陈聆群和刘再生等为代表的中国近代音乐史学学者，相继修订、写作并出版了几部新面孔的中国近代音乐史专著，他们对世纪之交的“重写音乐史”论争中所提出的诸多问题，如对音乐家的入史选择、叙述模式和历史评判等，都给予了充分的关注和部分的改进，但依旧留下了隐而不显的近代音乐家名册，如洛辛、丁珰、胡敬熙等，这便是本文纳入“隐册”范畴的研究对象。中国近代音乐家的“隐册”，给音乐史的研究和教学，带来了知识和学术的诸多“困扰”，亟待在学术观念、研究方法和价值判断上，予以新的研究范式的求证。新的研究，须回归实证的研究传统，关注“被遗忘权”的新式法规的运用，厘清中国近代音乐史的史事，实证其“隐事”，匡正其“隐册”。
关键词：中国近代;音乐家;“隐册”;“被遗忘权”;研究范式;求证
作者简介：：陈永（1965—），男，文学博士，华中师范大学音乐学院教授（武汉 430079）。
Proof on the Research Paradigm of the Modern Chinese Musicians
of the“Be Shielded Category”
Chen Yong
Abstract：In the 21st century，modern Chinese music historians represented by Wang Yuhe，Chen Lingqun，and Liu Zaisheng had successively revised，written and published several new mono graphs about modern Chinese music history. Many debates of the “rewriting the music history” happened at the turn of the century，such as the choice，narrative mode and historical judgement of musicians. And these issues have been focused comprehensively and improved partially. Regretfully，there are some modern musicians，such as Luo Xin，Ding Yan，Hu Jingxi，etc. are still not mentioned in the music history，so they become the research object of the be shielded category. The be shielded modern Chinese Musicians have been the intellectual and academic conundrums of music history research and teaching，so it is urgent to proof a new research paradigm for them. Upon verified in terms of academic concepts，research methods and value judgments，the new research method must be traditionally empirical research，focus on the use of new“right to be forgotten”regulation，so that the historical events in the modern Chinese music can be clarified，and to confirm their“shielded events”and correct their status that“be shieled”.
Key words：Modern China，musicians，“Be Shielded Category”；“right to be forgotten”；research paradigm；verification
新发现赵元任英文短文《“中华颂”改进之我见》
宫宏宇
摘 要：1915年11月，美国波士顿刊行的《中国学生月刊》上发表了赵元任用英文写成的《“中华颂”改进之我见》(Asuggested revision of the Chung Hwa Hymn)一文。这篇短文的发现，不仅对于赵元任在美期间的音乐活动研究有重要的史料价值和学术价值，对了解我国近代国歌创作历程亦有参考作用。
关键词：赵元任;国歌;《中华颂》;和声;旋律
作者简介：宫宏宇（1963— ），男，哲学博士，华中师范大学音乐学院高端外国专家项目首席研究员，新西兰国立尤尼坦理工学院研究员（武汉 430079）。
“A Suggested Revision of the Chung Hwa Hymn”by Chao Yuenren
Gong Hongyu
Abstract：In November 1915，Zhao Yuanren’s article in English“ A Suggested Revision of the Chung Hwa Hymn”was published in the Boston Monthly Journal of Chinese Students. The discovery of this short article not only has important historical and academic value for the study of Zhao Yuanren’s musical activities in the United States，but also serves as a reference for understanding the history of the China’s modern national anthem.
Key words：Chao Yuen Ren；national anthem；Chung Hwa Hymn；harmony；melody
西方音乐史研究
强势外来文化与本土音乐传统
——法国巴洛克音乐与意大利音乐的关系态势及现代启示
孙红杰
摘 要：西方音乐在中国的渗透性传播，深刻影响了中国的音乐生态和音乐传统。它所具有的“强势”程度，非中国历代外来音乐所能相比，因而，在面对西方音乐时，我们自身的历史经验似有不足。詹姆斯·安东尼的《法国巴洛克音乐》，为我们从西方音乐自身的发展中观察其对应强势外来文化的经验和方法，提供了有益的参考。它讲述了一个半世纪的法国音乐如何接受并超越强势意大利音乐的影响。文章依托该书，围绕巴洛克时期法国和意大利音乐的关系问题，评述了它的政治-社会背景，它所塑形的体裁-风格面貌，以及它在三位重要作曲家身上的体现，继而结合西方历史经验与中国现实境况，提出了处理中、西方音乐关系的建议和主张。
关键词：巴洛克;外来文化;本土传统;法国;意大利
作者简介：孙红杰（1980— ），男，文学博士，上海师范大学音乐学院音乐学系教授，上海音乐学院兼职教授（上海 200234）。
Strong Foreign Culture and Local Musical Tradition: the Historical Situation and Modern Inspiration of the Relationship between French and Italian Music in Baroque Period
Sun Hongjie
Abstract：The penetration of Western music in China has profoundly affected the cultural environment and local tradition of China’s music. Such an impact is much stronger than that of foreign music in Chinese history. The French Baroque Music by James R. Anthony，which tells the story of how French Baroque music embraced and surpassed the influence of strong Italian music，provides us a useful reference to observe the experience of Western music itself coping with strong foreign cultures in history. Relying on this book，this article focuses on the relationship between French and Italian music in the Baroque period，commenting on its political-social background，the genre-style appearance it shaped，its embodiment in three important composers，and its enlightenment in regarding with the relationship between Chinese and Western music today.
Key words：Baroque，foreign culture，local tradition，France，Italy
调性与“无调性”
——历史与哲学语境下两种音乐创作思维的内在差异与隐秘关联
袁利军
摘 要：“调性”是特定文化土壤和思维模式下的必然产物，曾在西方音乐的历史中扮演了举足轻重的角色，以至于当20世纪初奥地利作曲家阿诺德·勋伯格(ArnoldSchoenberg，1874-1951)的作品最初被冠以“无调性”(atonality)名称时，音乐界无不为之震动。但实际上，“无调性”音乐并非强调对“调性”的抛弃和反叛，其是在一定基础上音乐历史孕生而出的另一种创作思维模式。“调性”与“无调性”这两种思维模式各自出现在特定的历史时期，与各自所处时期的普遍哲学思潮也有着紧密的同质性关联。
关键词：调性;无调性;创作思维;内在差异;隐秘关联
作者简介：袁利军（1986—），男，艺术学博士，武汉音乐学院音乐学系副教授、西方音乐史教研室主任（武汉 430060）。
Tonality and“Atonality”
—Intrinsic Differences and Latent Connections of Two Compositional Thinking
in Historical and Philosophical Contexts
Yuan Lijun
Abstract：“Tonality”is an inevitable of particular cultural and mindset，which has played so pivotal role in the Western music history that the music world was shocked when the Austrian composer Arnold Schoenberg’s（1874-1951）works were first labeled“atonality”in the early 20th century. But in fact，“atonality”is not a rebellion against“tonality”，but rather an alternative mode of thinking that is based on the history of music. The two modes of thinking，“tonality”and“atonality”，each emerged in a specific historical period，and both homogeneous related closely to the prevailing philosophical trends of their respective periods.
Key words：tonality；atonality；composition thinking；intrinsic difference；latent connection
音乐创作研究
我国民族歌剧创作的新态势与新局面(下)
——“工程”2017年重点扶持剧目一度创作评析
居其宏
摘 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
作者简介：居其宏（1943—），男，浙江师范大学特聘教授，南京艺术学院教授、博士生导师（南京210013）。
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（Part B）
Ju Qihong
Abstract：The Operas，Ma Xiangyang Goes to the Countryside，The Song of Youth，The Love of Songmao Mountain，Home makes Love，Heroine ·Hero，Salt God ，Cai Wenji，Two 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 words：China National Opera Inheritance and Development Project；2017；key supporting repertoires；characteristics of script and music creation；artistic success and failure
陈歌辛歌曲《春花秋月何时了?》性质辨
李 岩
摘 要：自1936年陈歌辛发表歌曲《春花秋月何时了?》迄今，已有85周年。围绕此歌的性质，有人称其虽“前卫、出格”，但与欧洲传统调性音乐有千丝万缕的联系。文章作者却认为它的“自由十二音”样态，与传统和声“貌合神离”，其四度叠置、大量音块、半音化进行明显，且全音阶特征明确，亦有新创和弦——四和弦、第二和弦的组合应用，并对中国传统音乐核心调式“雅乐音阶下徵调·‘角煞’”做了创新性的衔接。学界对此歌虽进行过分析，但未切肯綮，导致对其深层技术细节，至今茫然。文章对其进行仔细地辨析，以正视听。
关键词：陈歌辛;歌曲《春花秋月何时了?》;性质;辨析
作者简介：李岩（1958—），男，博士，哈尔滨音乐学院兼职教授，中国艺术研究院音乐研究所研究员、研究生院博士生导师（北京 102218）。
On the Character of Chen Gexin’s When is the Spring Flower and Autumn Moon Over
Li Yan
Abstract：Chen Gexin published his art song When is the Spring Flower and Autumn Moon Over in 1936，now is 85 years. Regarding the character of this song，some people consider it avant-garde and extraordinary，but it links to the traditional European tonal music inextricably. The article points out that the free twelve-tone technique in the work based on traditional harmony formally but betrayed it essentially. In the work，superposition of four degrees and a mass of tone cluster are applied，both chromatic arrangements and diatonic scales are obvious，and the innovative chord，such as fourth-degree chord and second chord are combined used. And the composer also merged the Chinese traditional art music mode Xia Zhi Key of Elegant Music Scale with the western music. Although some scholars have analyzed this song，but was not pertinent enough，so as to solve the problem that the specific technical details are still vague，the article analyses the song in detail.
Key words：Chen Gexin，When is the Spring Flower and Autumn Moon Over，free twelve tone，appearance；character discrimination
音乐学学科前沿研究
中国音乐美学：现状与前瞻(下)
罗艺峰
摘 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
作者简介：罗艺峰（1947—），西安音乐学院教授，中国音乐学院博士生导师（西安 710061）。
Chinese Music Aesthetics: Current Situation and Prospects (Part B)
Luo Yifeng
Abstract：Scrutinizing the current situation and prominent phenomena of Chinese music aesthetics in the first two decades 21st century，the article predicts the possibility of the discipline. The author suggests the subdisciplines，including Chinese classic music aesthetics，traditional music aesthetics，Chinese music aesthetics history，and the thought history of Chinese music，will be in a status that independent，integrate，and mutual supporting. The author also contemplates the 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 in meaning and value between interventional aesthetics and self-contained aesthetics？ Why do the deficiencies of“critical theory”affect the development of this discipline？ Observation result of Chinese music aesthetics research tendency in the article is closely related to the author’s expectations of the discipline.
Key words：Chinese music aesthetics；current situation；prospects；predicts
从神经美学到音乐神经美学
——一门新兴学科的产生、发展及其对音乐学科的影响
宋 蓓，张紫嫣
摘 要：“神经美学”是神经科学与美学交叉形成的新兴交叉学科，是一个涉及美学、艺术等人文学科与包括神经科学、心理学在内的自然科学密切交叉的研究领域。作为时下最具前沿性和挑战性的跨学科研究领域，神经美学立足于心理学、认知神经科学等学科提供的神经生物学基础，探讨艺术美、自然美、社会美等一切审美活动的独特心脑机制，帮助人们更好地了解审美体验的内在活动规律。同时，神经美学的研究成果被广泛运用于音乐、美术等各艺术门类的研究之中。随着研究的不断深入和拓展，这或许预示着一个新的学科——音乐神经美学的诞生。
关键词：神经美学;审美;心理;机制;音乐神经美学
作者简介：宋蓓（1977— ），女，文学博士，哈尔滨音乐学院教授、博士生导师、艺术学系副主任（哈尔滨 150028）；张紫嫣（1996—），女，哈尔滨音乐学院艺术心理学专业21级博士研究生（哈尔滨 150028）。
From Neuroaesthetics to Neuroaesthetics of Music
——Emergence and Development of a New subject and Its Influence on the
Other Music Subjects
Song Bei，Zhang Ziyan
Abstract：The emerging“Neuro-aesthetics”is interdisciplinary subject merged neuroscience and aesthetics. Its research area inosculates humanities，such as aesthetics and art，and natural sciences including neuroscience and psychology. As one of the most pioneered and challenged interdisciplinary fields which based on the neurobiological foundation provided by psychology，cognitive neuroscience and other disciplines，the neuroaesthetic explores the peculiar Mind-Brain Mechanisms of all aesthetics activities on beauty，nature and social. Neuroaesthetic aims at to assist the discovery of intrinsic aesthetic experience activity pattern，as well as its achievements are widely used in music and arts research area. As the development of neuroaesthetic，there is an anticipated discipline will be born—Neuroaesthetics of Music.
Key words：neuroaesthetics；aesthetics；psychology；mechanism；Neuroaesthetics of Music
论音乐表演心理学的学科属性与内涵
冯效刚
摘 要：音乐表演是音乐艺术活动中的重要环节，而“音乐表演心理学”理论研究，涉及到音乐演(唱)奏表演者“注意力”“情感”“感知”“兴趣”“想象”“直觉”“记忆”“心境”，以及“临场心理的调节与控制”等一系列问题。此外，“直觉”问题还牵涉到“知觉”“意识”和“无意识”等，这些都是“音乐表演心理学”研究须面对的课题。文章对音乐表演心理学诸问题进行论述，涉及到“音乐表演心理学”能否成为一门学科，论及其学科属性、知识体系、研究方法，以及“人”在该学科研究中的地位与作用等问题。
关键词：音乐表演心理学;学科属性;知识体系;研究方法
作者简介：冯效刚（1955—），男，文学博士，南京艺术学院音乐学院教授（南京 210013）。
On the Disciplinary Attributes and Connotations of Music Performance Psychology
Feng Xiaogang
Abstract：Performance is an important part of music art activities，and the theoretical study of music performance psychology involves the performer’s attention，emotion，perception，interest，imagination，intuition，memory，state of mind，and staged psychological adjustment and control，
etc. In addition，intuition also involves perception，consciousness，and unconsciousness. All of these are the issues that must be faced in the study of music performance psychology. The article discusses the issues of music performance psychology，including whether“Music Performance Psychology”can be an independent discipline，its disciplinary attributes，knowledge system，research methods，and the status and role of“human”in the study of the discipline.
Key words：music performance psychology；disciplinary attributes；knowledge system；research Methods
书 评
音乐民族志书写的新范式
——评杨红《“堑山堙谷，直通之”：“秦直道”沿线高原联袂传统活态音乐的考察与研究》
杨丽琴，杨曦帆
摘 要：很久以来，“道路”研究一直没受到民族音乐学界的重视。而今，杨红的新著《“秦直道”沿线高原联袂传统活态音乐的考察与研究》引入“路学”的视角，该著是一部富有实践精神、探索精神与创新精神的实验音乐民族志，通过陕、晋、蒙诸地的田野材料，探讨秦直道周边区域活态音乐文化事象在时空变迁中多种关系复合一体和多重因素交互作用的现象和过程，阐明了保护秦直道周边传统活态音乐资源的历史意义与现实意义。
关键词：《秦直道》;路学;声音景观;多点民族志
作者简介：杨丽琴（1982—），女，南京艺术学院音乐学院2019级博士研究生；杨曦帆（1969—），男，文学博士，南京艺术学院教授，博士研究生导师（南京210000）。
Exploring the New Paradigm of Music Ethnography Writing
—Comment on Yang Hong’s Investigation and Research on Traditional Live Musicin the Plateau along the Qin Straight
Yang Liqin，Yang Xifan
Abstract：For a long time，the study of “road” has not been paid much attention by ethnomusicology. Now，Yang Hong's new book Investigation and Research on Traditional Live Music in the Plateau along the Qin Straight，introduces the perspective of“Roadology”. It is an experimental music ethnography full of practical spirit，exploration spirit and innovation spirit. Based on the field materials of Qin，Jin and Mongolia，this paper discusses the phenomenon and process of multiple relations and multiple factors interacting with the living music cultural events in the area around Qin straight in the change of time and space，and expounds the historical and realistic significance of
protecting the living music resources around Qin straight.
Key words：Qin straight，Roadology，Soundscape，Multipoint ethnography
