《北方音乐》2025年第4期（改版总第16期）目录与摘要概览-哈尔滨音乐学院“北方音乐”编辑部

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《北方音乐》2025年第4期（改版总第16期）目录与摘要概览

作者：时间： 2025年10月30日 09:47 点击数：

纪念刘天华诞辰130周年学术专栏

“刘天华道路”的当代启示

——纪念刘天华诞辰130周年系列活动“名家三人谈”纪要

修海林，方立平，胡志平，宋飞

摘要：本文为哈尔滨音乐学院纪念刘天华诞辰130周年系列活动首场论坛“名家三人谈：‘刘天华道路’的当代启示”的纪要稿。论坛由哈尔滨音乐学院院长宋飞教授主持，邀请胡志平、修海林、方立平三位学者围绕主题，就刘天华的历史贡献、艺术理想及其当代意义展开深度对话。修海林教授从“历久弥新”“跨越时空”“活在国乐传承中”的刘天华这三个视角，阐释其作为中国民族新音乐文化符号的意义，认识其历史地位与“刘天华道路”开创的意义。方立平教授着重分析了刘天华的“超人素质”与“破局精神”，强调其在困境中开创民族音乐新局面的非凡能力。胡志平教授深入解读了刘天华“继承、借鉴与创新”道路的核心内涵，剖析其创作实践、教育理念及对中国音乐主体性的坚守，并针对当下民族音乐创作与教育中存在的问题提出思考。本次论坛立足中国民族新音乐发展的历史与现实，在深入交流中探讨了刘天华道路所蕴含的文化自信、创新思维、教育理念及其人文关怀对于推动当代民族新音乐发展的启示和意义。

关键词：刘天华道路；民族新音乐；国乐改进；文化自信；中西融合

论坛嘉宾简介：

宋飞（1969—），女，教授，哈尔滨音乐学院院长，胡琴表演艺术家、教育家，中国音乐家协会副主席，中国音协民族弓弦乐学会会长，哈尔滨音乐学院“宋飞胡琴艺术研究中心”负责人（哈尔滨150028）。

胡志平（1963—），男，教授，二胡演奏家、民族音乐理论家、音乐教育家，武汉音乐学院原院长（武汉430060）。

修海林（1952—），男，中国音乐学院资深教授，哈尔滨音乐学院特聘教授，博士研究生导师，音乐史学家、音乐美学家（哈尔滨150028）。

方立平（1949—），男，资深文化学者，艺术评论家，上海文艺出版社编审，原中国音协刘天华研究会秘书长（上海200000）。

Contemporary Implications from the “Liu Tianhua Path”

—Summary of the Three Experts in Dialogue Forum from the Commemorating the 130th Anniversary of Liu Tianhua’s Birth Festival

Xiu Hailin， Fang Liping， Hu Zhiping， Song Fei

Abstract： This article summarizes of the Three Experts in Dialogue： Contemporary Implications of ‘Tianhua Path’， which is the first forum of Commemorating the 130th Anniversary of Liu Tianhua’s Birth Festival that held by Harbin Conservatory of Music. Moderated by Professor Song Fei， President of Harbin Conservatory of Music， the forum invited scholars Hu Zhiping， Xiu Hailin， and Fang Liping to engage in an in-depth dialogue on Tianhua’s historical contributions， artistic ideals， and contemporary significance. Prof. Xiu Hailin interpreted Tianhua’s significance as a cultural symbol of Chinese new national music through three perspectives， i.e. timeless relevance， transcending time and space and active in the inheritance of national music. He affirmed Liu’s historical stature and the pioneering significance of the “Liu Tianhua Path.” Prof. Fang Liping focused on analyzing Tianhua’s superhuman qualities and pioneering spirit， emphasizing his extraordinary ability to forge new paths for national music amidst adversity. Prof. Hu Zhiping provided an in-depth interpretation of the core essence of Liu Tianhua Path， i.e. inheritance， adaptation， and innovation， dissecting his creative practice， educational philosophy， and steadfast commitment to the autonomy of China’s music. He also offered reflections on current challenges in national music composition and education. This forum examined the historical and contemporary dimensions of China’s new national music development， through in-depth discussions， it explored how Liu Tianhua Path—embodying cultural confidence， innovative thinking， educational philosophy， and humanistic spirit—offers insights and significance for advancing contemporary national music.

Keywords：Liu Tianhua Path， New National Music， Chinese Music Reform， Cultural Confidence， Sino-Western Integration

“刘天华道路”的历史意蕴和时代性特征

王军

摘要：刘天华是我国当代重要的民族音乐家。他在“国乐改进”上取得的历史性成就为后人所敬仰。为此，后人提出了高度凝练的“刘天华道路”。那么，如何理解“刘天华道路”等问题，文章以大文化的视角，和当下民族音乐发展的实际为切入点，解读“刘天华道路”的深刻含义，拟为新时代的中国民族音乐发展提供借鉴。

关键词：刘天华道路；经世致用；道器合一；体用辩证；当代音乐；发展道路

作者简介：王军（1966—），男，文学博士，中国音乐学院音乐学系教授、博士研究生导师（北京 100031）。

The Historical Significance and Contemporary Characteristics of the “Liu Tianhua Path”

Wang Jun

Abstract： Liu Tianhua stands as a pivotal figure in Chinese contemporary national music scene. Revered for his historic contributions to the “reformation of national music，” posterity has distilled his legacy into the concept of the Liu Tianhua Path which is highly refined. This article interprets the profound implications of this path in the cultural context， integrating current developments in national music to offer references for advancing China’s national music in the new era.

Keywords： Liu Tianhua Path； Practical Application upon the Experiences； Unity of Idea and Instrument； Dialectic of Noumenon and Function； Contemporary Music； Development Path

“刘天华道路”百年传承

——纪念刘天华诞辰130周年

张咏音

摘要：文章以“刘天华道路”概念为研究核心，对刘天华及其一脉的音乐思想、音乐实践经验和代表性实践成就等展开梳理，阐述“刘天华道路”是如何在20世纪中国民族音乐发展中，以“从东、西方的调和与合作之中，打出一条新路来”“让国乐与世界音乐并驾齐驱”为指导思想，不断摸索、平衡、调和中西音乐交融与冲突中的传承发展与创新创造等问题，并探讨其在新的历史时期为当代民族音乐创新和可持续发展提供的实践和理论启示。

关键词：刘天华道路；国乐改进；二胡艺术；民族音乐

作者简介：张咏音（1989—），女，艺术学博士，浙江音乐学院国乐系副主任，副教授，硕士研究生导师（杭州 310024）。

The Centennial Legacy of the “Liu Tianhua Path”

——Commemorating the 130th Anniversary of Liu Tianhua’s Birth

Zhang Yongyin

Abstract： Based on the core concept of Liu Tianhua’s Path， this study examines the musical philosophy， practical experience， and representative achievements of Liu Tianhua and his successors. It not only elucidates how Liu Tianhua Path forged a new direction of Chinese national music development in 20th-century by blending and collaborating Eastern and Western traditions， but also examines how， grounded in the principle of placing Chinese music on equal footing with world music， it addresses issues of inheritance， development， and innovation through continuous exploration， balancing， and harmonizing the fusion and conflicts between Chinese and Western music. Finally， it explores the practical and theoretical insights this path offers for contemporary Chinese music innovation and sustainable development in the new historical era.

Keywords： Liu Tianhua Path； Chinese Music Reformation； Erhu Artistry； Chinese Music

弘扬刘天华精神

——不断探寻中国民族音乐发展与传承的当代路径

朱昌耀

摘要：值此纪念刘天华先生诞辰 130周年之际，重新审视刘天华先生对中国民族音乐的贡献及当前民族音乐面临的挑战与机遇，探寻中国民族音乐发展与传承的当代路径，思考如何在新时代背景下实现民族音乐的创造性转化与创新性发展，以及刘天华精神给予我们当下民族音乐发展与传承的文化启示。

关键词：刘天华精神；发展与传承；当代路径；文化启示

作者简介：朱昌耀（1956—），男，江苏省演艺集团一级演奏员，中国音协民族弓弦乐学会副会长，中国民族管弦乐学会胡琴专业委员会副会长，江苏省音乐家协会名誉主席，中国音乐学院、南京艺术学院客座教授，南京师范大学博士生导师，江苏省民族乐团、苏州民族管弦乐团艺术指导（南京 210002）。

Promoting the Spirit of Liu Tianhua: Continuously Exploring Contemporary Pathways for the Development and Transmission of Chinese National Music

Zhu Changyao

Abstract： On the occasion of the 130th anniversary of Tianhua’s birth， this paper re-examines his contributions to Chinese national music while exploring the challenges and opportunities facing it today. It seeks to chart contemporary pathways for the development and transmission of Chinese national music， contemplating how to achieve its creative transformation and innovative development in the new era. The paper elucidates the cultural insights offered by Tianhua’s spirit for the advancement and preservation of national music in present-day.

Keywords： Liu Tianhua Spirit， Development and Inheritance， Contemporary Pathways， Cultural Insights

音乐创作与音乐美学研究

音乐创作中的句法策略研究

吕黄

摘要：文章通过对不同时期音乐作品中句法策略的比较研究，探讨音乐句法作为结构逻辑与表达机制的历史演变过程，以贝多芬、肖邦、德彪西与布列兹的代表性作品为分析对象，揭示句法在结构组织与情感表达之间所起的双重作用。研究发现，古典主义时期的句法以扩充为手段、以结构统一为目标；浪漫主义时期通过不规则模进与调性转换实现句法功能扩展；印象主义时期则通过非对称结构、节奏感知等方式生成“多解句法”；而现代主义则以参数化的组织逻辑构建出“断续化”“音势化”“音响化”与“层级化”句法结构。文章最终指出，音乐创作中句法不仅体现音乐语言的逻辑核心，也是音乐思想与形式创新的深层驱动力。

关键词：音乐创作；句法策略；结构逻辑

作者简介：吕黄（1963—），男，文学硕士，上海音乐学院作曲指挥系教授，博士研究生导师（上海200031）。

Syntactic Strategies in Musical Composition

Lv Huang

Abstract： This article examines the historical evolution of musical syntax as both structural logic and expressive mechanism through comparative analysis of syntactic strategies across different periods. Using representative works by Beethoven， Chopin， Debussy， and Boulez as case studies， the author reveals syntax’s dual role in organizing structure and conveying emotion. Researches indicate that syntax of Classical-period employed expansion as a means to achieve structural unity； Romantic-period expanded its functional scope through irregular sequences and tonal shifts； Impressionism generated “syntactic ambiguity” via asymmetrical structures and rhythmic perception； while Modernistic works constructed syntactic structures of intermittent continuity， sonic momentum， soundification， stratification through parametric organizational logic. The article concludes that syntax in musical composition not only embodies the logical core of musical language but also serves as a profound driving force for innovation in musical thought and form.

Keywords： musical composition； syntactic strategies； structural logic

陈晓勇《心象》中的单音技法研究

肖慧君，张巍

摘要：文章对作曲家陈晓勇在2015年创作的室内乐《心象》进行研究，这部作品的创作主要是以单音技法为基础。文章通过对《心象》中单音技法的概念、不同形态单音的类别及其构建、单音中音乐动力的来源三个方面进行论述，从而理解陈晓勇“以意写形”的单音技法特征、创作实践的组织方式和整体构思的布局特点。进而发现作曲家在观念与技术之间的深层联系，探究其创作背后的文化力量根源与本质。

关键词：陈晓勇；室内乐《心象》；单音技法；中国文化；结构功能理论

作者简介：肖慧君（1996—），女，上海音乐学院作曲指挥系2023级博士研究生；张巍（1966—），男，上海音乐学院作曲指挥系二级教授，博士研究生导师，上海音乐学院出版社社长（上海200030）。

A Study of the Single Tone Technique in Imaginative Reflection by Chen Xiaoyong

Xiao Huijun， Zhang Wei

Abstract： The article studies Chen Xiaoyong’s chamber music Imaginative Reflection （2015） which based on the Single Tone Technique . Upon the discussion about the technique concept， the gestures of distinct type and the source of the dynamic of the single tone， the authors analysis the characteristics， procedure and arrangement of the Chen Xiaoyong’s single note technique which genesis from the concept “mood decide form”. Furthermore， they discover the essential relationship between the conception and technique， and explore the root and essence of the cultural power behind his creation.

Keywords： Chen Xiaoyong； Chamber Music Imaginative Reflection； Single Tone Technique； Chinese Culture； Structural Function Theory

生成式音乐与象征形式

——再论苏珊·朗格的音乐美学观念

俞一帆

摘要：20 世纪中叶，苏珊·K·朗格（Susanne K. Langer，1895-1985）在语言学转向与第三次科技革命的洪流中另辟蹊径，以象征符号美学展现出对艺术本质的深刻洞察。朗格的音乐美学以象征符号为核心，主张音乐是人类感受的象征形式。她站在反语言中心主义的立场，强调音乐意义无法被还原为推理性符号的逻辑运算。文章通过对朗格音乐美学观念的重新阐释，揭示人工智能生成式音乐的本质，指出朗格的理论为理解生成式音乐的美学价值与局限提供批判性视角。在当下人工智能挑战人类智性的当下，朗格的思想不仅焕发出新的生命力，更为艺术与技术的深度融合提供了重要的理论参照，值得进一步研究与反思。

关键词：音乐美学；苏珊·朗格；人工智能音乐；生成式音乐；象征符号

作者简介：俞一帆（1988—），女，艺术学博士，上海音乐学院图书馆副研究员；“中小学艺术国家教材建设重点研究基地”核心研究员（上海200031）。

Generative Music and Symbolic Form: Revisiting Susanne K. Langer’s Aesthetic Theory of Music

Yu Yifan

Abstract： In the mid-20th century， avoiding the linguistic tendency and the Third Technological Revolution power， Susanne K. Langer （1895—1985） found a distinct method. Through her aesthetics of symbolic forms， she demonstrated profound insights into the essence of art. At the core of Langer’s musical aesthetics lies the symbolic form， asserting that music is a symbolic form of human experience. Adopting an anti-linguistic-centrism stance， she emphasized that musical meaning cannot be reduced to the logical operations of deductive symbols. By reinterpreting Langer’s musical aesthetic concepts， this article reveals the essence of AI-generated music， demonstrating how Langer’s theories offer a critical perspective for understanding the aesthetic value and limitations of generative music. In an era where AI challenges human intellect， Langer’s ideas not only renew vitality but also offer crucial theoretical reference points for the deep integration of art and technology， which warranting further research and reflection.

Keywords： music aesthetics； Susan Langer； AI music； generative music； symbolic representation

有机论视域下的音乐结构生命体特征研究

徐起

摘要：文章基于有机论视角，深入探讨了音乐结构与生命体特性的关联，其认为，音乐不仅富有“生命力”，且本身可以视作广义的生命体。作者从“生长性”“目的性”“整体性”“运动性”四个维度，系统阐释音乐结

构如何表现出生物有机体的属性，强调音乐并非仅仅是诗意的隐喻对象，而是与生命体具有结构上的深层一致性。通过跨学科的理论梳理和案例分析，文章旨在夯实音乐有机论的学理基础，指出音乐结构的诸多特性在本体、表现和审美层面都能够被生命体理论有效解释，为音乐理解与艺术创作提供了新的理论视野。

关键词：音乐结构；生命体；有机论；申克分析；隐喻

作者简介：徐起（1994—），男，美国茱莉亚学院音乐艺术博士（钢琴演奏方向），美国哥伦比亚大学文学学士（数学专业），哈尔滨音乐学院钢琴系讲师（哈尔滨150028）。

A Study on the Characteristics of Musical Structure as Living Organism from the Perspective of Organicism

Xu Qi

Abstract： From the perspective of organicism， this paper explores the relationship between musical structure and the characteristics of living organisms， arguing that music is not only imbued with “vitality” but can， in a broad sense， be regarded as an organism itself. The author systematically analyzes how musical structure displays attributes of biological organisms through four dimensions： growth， purposiveness， holism， and motion. The study emphasizes that music is not simply a poetic metaphor for life， but that there is a profound structural congruence between music and life forms. Through interdisciplinary theoretical review and case analysis， the article aims to consolidate the theoretical foundation of musical organicism， suggesting that many features of musical structure can be effectively interpreted by theories of living organisms at ontological， expressive， and aesthetic levels. This provides a new theoretical perspective for understanding music and artistic creation.

Keywords： Musical structure； Living organism； Organicism； Schenkerian analysis； Metaphor

音乐史学研究

论中国“三种音阶”命名体系

陆晓彤

摘要：中国音乐中存在三种不同结构的七声音阶，学界对其命名的争议已逾百年，其间诸位学者提出了多套命名体系，但始终未能统一术语，导致学界目前处于多套命名体系并存、混用的局面。文章综合整理近百年来相关研究成果，通过梳理多套“三种音阶”命名体系产生的过程，辨析其中的争议，分析已有命名体系存在问题、合理性与历史性，以期对“三种音阶”命名争议的始末缘由作出较为完整、客观的说明，以助力有关研究的进一步发展。

关键词：中国音乐；话语体系；三种音阶；音乐术语；命名体系

作者简介：陆晓彤（1989—），女，艺术学博士、博士后，中央音乐学院音乐学系讲师（北京 100031）。

On the Naming Systems for China’s Three Scales

Lu Xiaotong

Abstract： Chinese music has historically featured three distinct seven-note scales with varying structures. Academic debates over their nomenclature have persisted for over a century， during which scholars have proposed multiple naming systems. However， a unified terminology has yet to emerge， resulting in the current academic landscape where multiple naming systems coexist and are used interchangeably. Building upon a comprehensive review of nearly a century of relevant research， this article traces the development of multiple naming systems for the three scales， examines the underlying controversies， and analyzes the problems， rationality， and historical context of existing systems. It aims to provide a comprehensive and objective account of the origins and evolution of the naming dispute surrounding the three scales， thereby fostering further advancement in related research.

Keywords： Chinese music； discourse system； three types of scales； musical terminology； naming system

证经补史：近古金石学著录乐钟及其功能考述

李保江，李荣有

摘要：近古金石学是古代历史上考察青铜乐器的重要领域，较早始于北宋欧阳修，后迄于清末端方。现基于金石学著述典籍中有关乐钟实物的图文资料，辨析所录镈钟、甬钟和钮钟等类型，及相关乐钟编组、所属时代等问题。在此期间发现，金石学者在记载乐钟形制时表现出趋于统一的著录格式，及对部分乐钟的考证与王朝制礼作乐的特殊语境相关联，进而由乐钟的形制变化观照到音响声律等本体特征。而明清学者如朱载堉、陈梦雷等在稽考乐钟律制与样式和编撰类书图籍时，辑录和征引了金石学领域的大量乐钟成果，有利于补正经学传统长期影响下有关青铜礼乐器物的臆说误识，发挥其独特的历史功能。

关键词：金石学；青铜乐钟；形制类型；时代特征；补正功能

作者简介：李保江（1992—），男，艺术学博士，湖北民族大学音乐舞蹈学院讲师（湖北恩施 445000）；李荣有（1956—），男，哈尔滨音乐学院特聘教授，博士研究生导师，博士后流动站合作导师（哈尔滨 150028）。

“Verifying Classics and Supplementing History”: A Study of Musical Bells Documented in Late Imperial Chinese Epigraphy and Their Ritual-Social Functions

Li Baojiang， Li Rongyou

Abstract： Epigraphy in Late Imperial China （from the Northern Song to the late Qing dynasty） constituted a critical field for the study of bronze musical instruments.Its origins trace back to Ouyang Xiu of the Northern Song and culminated in the works of Duan Fang during the late Qing.This study examines the typology of musical bells， including Bo-Zhong bells，Yong-Zhong bells，and Niu-Zhong bells， documented in epigraphic treatises， alongside their grouping configurations and chronological attributions.The analysis reveals that epigraphers developed increasingly standardized formats for recording bell morphology， while their textual scrutiny often linked these artifacts to the ritual-musical frameworks of dynastic legitimacy. Furthermore， shifts in bell morphology were correlated with their acoustical and tonal properties.Ming-Qing scholars such as Zhu Zaiyu and Chen Menglei synthesized epigraphic findings on bell design and temperament in their encyclopedic compilations， thereby rectifying longstanding misconceptions about bronze ritual-musical objects perpetuated by classical textual traditions.This underscores epigraphy’s unique role in revising and supplementing historical knowledge.

Keywords： epigraphy； bronze musical bells；typology and morphology； periodization； corrective function

吴韵汉风数千年区域史话书新篇

——施咏《江苏音乐史》读后

马达

摘要：施咏著《江苏音乐史》作为以整个江苏为视域的第一部区域音乐通史，填补了这一领域的空白。全书以是否在江苏从事音乐活动为主要标准来确定江苏乐人的入史范围，着重彰显地方史研究中的区域性特征，并关注江苏音乐与周边乃至全国音乐的联系。在其撰写中以中国传统音乐形态学切入史学的视角为主，兼及历史地理学、文化地理学、传播学、交往史学等多学科的互动交融。书中探索了江苏民间乐种“家族传承”的脉络与谱系、赵元任说唱钢琴曲与艺术歌曲创作的跨文化转调等内容，实现了对相关研究领域的补白与创新。

关键词：江苏音乐史；地方史；区域音乐；吴楚文化；文化自觉

作者简介：马达（1953—），男，文学博士，博士研究生导师，莆田学院音乐学院特聘教授，广州大学二级教授，广州大学音乐舞蹈学院名誉院长（福建莆田 351100）。

A Review of Jiangsu History of Music by Shi Yong

Ma Da

Abstract： Jiangsu History of Music by Shi Yong is the first general history of regional music of Jiangsu province. The book fills a gap in this field as it takes whether or not they were engaged in musical activities in Jiangsu as the main criterion to determine the scope of the history of Jiangsu musicians， focuses on the regional characteristics of the local history study， and pays attention to the connection between the music of Jiangsu and the surrounding areas and even the whole country. The book is written with the historiographical perspective of traditional Chinese music morphology， and also with the interdisciplinary interactions of historical geography， cultural geography， communication， and the history of interactions. The book explores the lineage and genealogy of the “family inheritance” of Jiangsu folk music， and the cross-cultural transposition of Zhao Yuanren’s spoken-piano music and art song compositions， thus realizing the origin and innovation of related research fields.

Keywords： Jiangsu music history； local history； regional music； Wu-Chu culture； cultural self-consciousness

《黄河大合唱》在哈尔滨的传播过程研究（1946-1948）

吴琼，苗笛

摘要：文章聚焦 1946-1948年《黄河大合唱》在哈尔滨的传播历程，剖析革命胜利后哈尔滨制度性文化环境与苏侨撤离带来的传播契机，分阶段解析传播主体、内容、渠道、受众及效果，呈现早期仪式性传播的开启与后期制度化、立体传播的深化。通过补充多元史料支撑传播细节，构建“组织-技术-情感”三位一体的东北特色红色音乐传播范式，提炼对当代革命音乐传承传播的启示，为革命音乐地域化研究提供跨学科视角。

关键词：黄河大合唱；红色音乐传播范式；东北解放区；5W模式

作者简介：吴琼（1990—），女，锡伯族，文学硕士，哈尔滨音乐学院博士研究生；苗笛（1954—），男，文学学士，国家一级作曲（理论），哈尔滨音乐博物馆馆长（哈尔滨 150028）。

A Study on the Dissemination Process of The Yellow River Cantata in Harbin (1946-1948)

Wu Qiong， Miao Di

Abstract： This article examines the dissemination of The Yellow River Cantata in Harbin from 1946 to 1948. The authors argue that， leveraging the institutional cultural environment following Harbin’s liberation and the withdrawal of Soviet expatriates， the dissemination process unfolded in distinct phases. By analyzing the key actors， content， channels， audience， and outcomes， the study reveals that early dissemination centered on ceremonial functions， while later stages expanded through institutionalized， multi-dimensional approaches. By supplementing diverse historical materials， the article clarifies specific details of the dissemination process， arguing that this work pioneered a Northeast-specific red music dissemination paradigm integrating “organization-technology-emotion.” Finally， the authors highlight the work’s implications for contemporary revolutionary music inheritance and dissemination， offering an interdisciplinary perspective for regionalized studies of revolutionary music.

Keywords： The Yellow River Cantata； red music dissemination paradigm； Northeast Liberated Areas； 5W model

民族音乐学研究

人文学科品格与仪式音乐研究经验

——再谈“为什么要研究文化中的音乐”

丁博

摘要：关于音乐人类学注重“音乐文化”研究的争议与质疑，多来自于部分学者对该学科属性的误解。由此，从中西方音乐话语体系的哲学基础、音乐人类学的“三性学科”品格以及仪式音乐研究经验的启示等方面出发，认为具有人文学科品格的音乐人类学，其理念是将音乐作为一种人文现象来综合考量，与以自然科学为基础所建立的西方人工话语体系下的音乐分析具有“母学科”的区别。此外，贯彻研究“文化中的音乐”的理念，一定程度上在于民间（仪式）音乐蕴涵着丰富的文化意义和宗教内涵。因此，音乐人类学学者基于后现代主义理念，并借鉴跨学科方法的研究，都是意在理解不同族群音乐文化所选择的多元理论方法。

关键词：音乐文化；音乐内涵；音乐外延；仪式音乐；人文学科

作者简介：丁博（1995—），男，艺术学博士，哈尔滨音乐学院音乐学系讲师（哈尔滨150028）。

The Character of the Humanities and Experiences in Ritual Music Research

——Revisiting “Why Study Music in Culture”

Ding Bo

Abstract： The controversies and skepticism surrounding music anthropology’s emphasis on “musical culture” research due to some scholars’ misunderstanding of the discipline’s nature. Given this context， this article argues that music anthropology， grounded in the philosophical foundations of Eastern and Western musical discourses， its character as a “tri-attribute discipline，” and insights from ritual music studies， approaches music as a humanistic phenomenon for comprehensive examination. This differs from music analysis which belongs to the Western artefact discourse system and based on natural science and functions as a “meta-discipline.” Moreover， the ability to consistently pursue the concept of studying “music within culture” is partly attributable to the abundant cultural significance and religious connotations embedded within folk （ritual） music. Therefore， drawing upon postmodernist principles and interdisciplinary methodologies， music anthropologists aim to understand the different ethnic groups’ musical cultures by chosen diverse theoretical approaches.

Keywords： musical culture； musical connotation； musical extension； ritual music； humanities

琉球群岛民谣音乐的跨文化特征解读

——兼论身份认同符号的生产与当代重构

闫冠男

摘要：文章以根植在琉球群岛之上的民谣类型“岛呗”为核心议题，以历史纵向脉络展开叙述。通过本体研究，以音乐特征衍变为线索而细致探讨岛呗作为文化互动载体与身份认同符号的双重属性。同时追溯其文化内涵所形成的历史根源，进而将其置于“东亚音乐文化圈”的整体语境中解读，由此得出结论，即：民谣岛呗既承载着海洋文化的原始风貌，又映射出“东亚文化圈”在不同历史阶段的互动逻辑，而当代岛呗则因文化的层累性特征而被重构为兼具传统内核与现代属性的文化象征系统。

关键词：琉球民谣；岛呗；东亚音乐文化圈

作者简介：闫冠男（1992—），女，艺术学博士，浙江传媒学院音乐与舞蹈学院讲师（杭州 310000）。

Interpreting the Cross-Cultural Characteristics of Ryukyu Islands Folk Music

——With a Discussion on the Production and Contemporary Reconstruction of Identity Symbols

Yan Guannan

Abstract： This article focuses on the “island songs”—a folk music genre rooted in the Ryukyu Islands—through a longitudinal historical lens. Through an in-depth examination of this core topic， this study traces the evolution of musical characteristics to scrutinize the dual attributes of island folk songs as both vehicles for cultural interaction and symbols of identity. It further traces the historical roots of their cultural connotations. Subsequently， by interpreting island folk songs within the broader context of the “East Asian Music Cultural Sphere，” the conclusions are drawn： Island folk songs embody both the primal essence of maritime culture and the interactive logic of diverse cultures within the “East Asian cultural sphere” across different historical periods； and contemporary island folk songs， shaped by the layered accumulation of cultural elements， have been reconfigured into a cultural symbolic system that integrates traditional core values with modern attributes.

Keywords： Ryukyu folk songs； Island folk songs； East Asian musical cultural sphere

“国家在场”背景下西北花儿舞台程式化转变