中国传统音乐研究

形塑与共生：传统文化视域下中国传统音乐/民间音乐性质的文化哲学阐释

田可文

摘 要：中国传统音乐/民间音乐并非孤立的艺术形式，而是与传统文化深度嵌合的文化符号与生活实践。从文化哲学视角审视，传统文化通过伦理观念、民俗体系、宇宙观三大维度对传统音乐/民间音乐进行形塑，而传统音乐/民间音乐又以声音叙事的方式反哺传统文化的传承与重构，二者形成“形塑—共生”的辩证关系。文章结合音乐人类学方法与文化哲学的思辨视角，梳理汉族与少数民族音乐不同类型民间音乐的发展脉络，论证传统文化对民间音乐本体性质、功能性质、传承性质的深层影响，揭示二者形塑与共生关系及文化的哲学内涵。 

关键词：传统文化；传统音乐；中国民间音乐；形塑与共生；文化哲学

作者简介：田可文（1955— ），男，哈尔滨音乐学院特聘教授、《北方音乐》编辑，武汉音乐学院音乐学系教授、博士研究生导师（哈尔滨 150028）。

 

Shaping and Symbiosis: A Cultural-Philosophical Interpretation of Chinese Traditional/Folk Music within the Framework of Traditional Culture

Tian Kewen

Abstract: Chinese traditional/folk musics are non-isolated creations but cultural symbols and life activities that deeply embedded within traditional culture. From a cultural philosophical perspective， traditional/folk are shaped by traditional culture through three dimensions， i.e. ethical concepts， folk customs systems， and cosmic visions.Reciprocally， traditional/folk musics nourish the transmission and reconstruction of traditional culture through sound-based narratives， forming a dialectical relationship of “shaping-symbiosis.” This article combines musicological anthropology and speculative cultural-philosophical idea to trace the developmental trajectories of diverse folk music traditions among Han and minorities.It demonstrates the profound influence of traditional culture on the essence， functions， and transmission of folk musics， revealing their mutual shaping， symbiotic relationship， and philosophical cultural implications.

Keywords： traditional culture； traditional music； Chinese folk music； shaping and symbiosis； cultural philosophy

 

中国民间音乐分类的理论依据与相互关系的逻辑推演

李 虎

摘 要：文章以民歌、歌舞音乐、说唱音乐、戏曲音乐、民间器乐五大类别为研究对象，从音乐形态学、音乐人类学、音乐社会学等多学科视角，揭示分类体系的理论基底，推演各类别间的内在逻辑，并阐明中国民间音乐在文化主体性构建中的价值。研究表明，中国民间音乐的分类经历了长期的历史演进与理论积淀，五大类别在历史演进中形成了“共生同源、层累建构、功能互补”的动态关系，并遵循“音声形态、文化功能、社会语境”的三重理论逻辑。文章提出，中国民间音乐的“主体性”是通过自我认知与自我表达得以实现，并通过音乐形态、传承机制及文化功能的独特性，塑造其核心辨识度。 

关键词：民间音乐；分类；理论溯源；逻辑推演；文化主体性

作者简介：李虎（1981— ），男，艺术学博士，沈阳音乐学院音乐学系讲师（沈阳 110004）。

 

The Theoretical Basis and Logical Deduction of Interrelationships in the Classification of Chinese Folk Musics

Li Hu

Abstract: This study examines five major categories of Chinese folk music—folk songs， song-and-dance music， narrative music， opera music， and folk instrumental music—through multidisciplinary perspectives including morphology， anthropology， and sociology. It analyzes the theoretical foundations of their classification system， explores the intrinsic logical relationships among these categories， and elucidates the value of Chinese folk music in the process of constructing cultural subjectivity. Research indicates that this classification has undergone prolonged historical evolution and theoretical accumulation. The five major categories have developed interactive connections that characterized as symbiotic origins， layered construction， and functional complementarity throughout historical development， adhering to a triple theoretical logic of sound morphology， cultural function， and social context. This study proposes that the subjectivity of Chinese folk music is achieved through self-awareness and self-expression， with its core distinctiveness shaped by the uniqueness of its musical forms， transmission mechanisms， and cultural functions.

Keywords： folk music； classification； theoretical origins； logical deduction； cultural subjectivity

 

从张力论到心体论：古琴之“远”的精神修养学探析

李晓燕，马卫星

摘 要：“远”是中国古代的重要审美范畴之一。古琴之“远”始于老子的“道”，吸收了中国古代音乐、舞蹈、绘画、书法、文学中的“远”意，在明末清初琴家徐上瀛的著作《溪山琴况》中集之大成，超越了物理意义的时空概念，从有限奔向无限，具有表演实践与美学理论相结合的特征。在中国传统艺术的精神哲学领域，古琴之“远”蕴含着深刻的精神修养学意义。研究从“远”的音乐发生和精神属性谈起，进而深入到音声张力论，阐述“远”的演奏技术精神。再上升至心体论，诠释主体修心养德精神，最终归旨于“远”的精神修养学层面。主张充分发挥主体心性作用，激发其在古琴及其他民族乐器的创造、演奏与接受过程中的身心修为与创新自觉。 

关键词：古琴艺术；“远”；张力论；心体论；精神修养学

作者简介：李晓燕（1981— ），女，文学硕士，哈尔滨音乐学院 2024 级艺术学理论专业艺术哲学方向博士研究生（哈尔滨150028）；马卫星（1958— ），女，文艺学博士，哈尔滨音乐学院艺术学研究所所长，教授，博士研究生导师（哈尔滨 150028）。

From Tension Theory to Mind-Body Theory: An Exploration of the Spiritual Cultivation of Yuan in the Chin Music

Li Xiaoyan， Ma Weixing

Abstract: As one of ancient China’s pivotal aesthetic categories， the concept of Yuan in Chin music originates from Laozi’s Tao. It absorbs the profound connotations of Yuan in ancient Chinese music， dance， painting， calligraphy， and literature. This concept reached its zenith in Xi Shan Chin Kuang ［Chin’s Performance Aesthetic Conception originated from Stream and Mountain］ by Xu Shangying， a Chin master active during the late Ming and early Qing dynasties. Transcending physical concepts of time and space， it bridges the finite and infinite， embodying the fusion of performance practice and aesthetic theory. Within the spiritual philosophy of traditional Chinese arts， the Yuan of Chin harbors profound implications for spiritual cultivation. This study examines the musical genesis and spiritual attributes of Yuan， delves into the theory of sonic tension to elucidate its technical essence in performance， then ascends to the theory of mind-body unity to interpret the spirit of cultivating virtue through self-cultivation， ultimately concluding with the spiritual cultivation dimension of Yuan. It advocates fully leveraging the role of the subject’s mind-nature to stimulate self-cultivation and innovative consciousness in the creation， performance， and reception of Chin and other traditional Chinese instruments.

Keywords： Chin； Yuan； theory of tension； theory of mind-body unity； spiritual cultivation studies

 

俄罗斯音乐研究 

我国留苏作曲家的专业老师：创作、教学与师承关系

彭 程

摘 要：20世纪50年代，吴祖强、杜鸣心、朱践耳、瞿维、邹鲁、美丽其格6位中国作曲家在莫斯科音乐学院分别随梅斯涅尔、楚拉基、巴拉萨年、舍巴林4位专业教师学习；其中楚拉基与我国音乐艺术界联系较多，巴拉萨年的创作最具东方色彩；梅斯涅尔、楚拉基、舍巴林均为“里姆斯基-科萨科夫学派”的传人，巴拉萨年或可视为“柴科夫斯基学派”作曲家中的一员；这4位教师均具有创作不同民族风格作品或培养不同民族作曲家的经验，其教学活动对我国专业音乐创作民族化的发展起到了积极作用。基于我国学界对这4位苏联作曲家的研究相对较少，特撰此文对他们的生平、创作、教学活动及师承关系进行梳理，深化中苏音乐交流的历史认知。 

关键词：留苏音乐家；莫斯科音乐学院；苏联作曲教师

作者简介：彭程（1974— ），男，艺术学博士，上海音乐学院研究员、博士研究生导师（上海200031）。

Professional Mentors of Chinese Composers Studying in the Soviet Union: Connections Between Composition, Teaching, and Mentorship

Peng Cheng

Abstract: In the 1950s， six Chinese composers—Wu Zuqiang， Du Mingxin， Zhu Jian’er， Qu Wei， Zou Lu， and Mei Li Qi Ge—studied at the Moscow Conservatory under four professional mentors： Messner， Chulaki， Balasanyan， and Shebalin. Among them， Chulaki maintained closer ties with China’s music circle， while Balasanyan’s compositions exhibited distinct Eastern characteristics. Mesner， Chulaki and Shebalin were all inheritors of the Rimsky-Korsakov School， while Balasanyan could be regarded as a member of the Tchaikovsky School . All four mentors possessed experience in composing works of diverse ethnic styles and nurturing composers from various nations. Their teaching activities played a significant role in advancing the nationalization of professional music composition in China. Given the relative scarcity of academic research on these four Soviet composers in China， this paper systematically examines their biographies， creative output， teaching activities， and mentor-disciple relationships to deepen understanding of the history of Sino-Soviet musical exchange.

Keywords： Soviet-trained musicians； Moscow Conservatory； Soviet composition mentors

 

季先科《第八交响曲》音乐主题的跨时空对话研究

徐虓骅，张 磊

摘 要：季先科是20-21世纪俄罗斯著名的作曲家，共作有17部交响曲。文章研究的是其《第八交响曲》。这部作品有两个鲜明的特征，其一，从复杂转向简约凝练；其二，体现该作品与他人作品的整体构思，季先科是将其三个乐章拟与舒伯特《第八交响曲》的两个乐章相结合，形成五个乐章的交响曲，构建跨时空对话。文章聚焦该作品的音乐主题，辅以结构、音色、音响、织体等的分析，探究两部作品之间的关联性，揭示不同时代、不同文化背景的两位作曲家，以作品来实现深层精神回应。 

关键词：季先科（Boris Ivanovich Tishchenko，1939-2010）；音乐主题；第八交响曲；舒伯特；对话

作者简介：徐虓骅（1990— ），男，艺术硕士，哈尔滨音乐学院作曲系2023级博士研究生；张磊（1966— ），男，文学博士，哈尔滨音乐学院作曲系主任、教授、博士生导师（哈尔滨 150028）。

A Study on the Transcendental Dialogue of Musical Themes in Tishchenko’s Symphony No. 8

Xu Xiaohua， Zhang Lei

Abstract: As a highly regarded Russian composer of the 20th and 21st centuries， Tishchenko composed a total of 17 symphonies. This study focuses on his Symphony No. 8， which exhibits two notable characteristics. First， its musical style shifts from complexity to minimalist refinement. Second， its overall conception reveals connections to other works： Tishchenko interweaves three movements from his own compositions with two movements from Schubert’s Symphony No. 8， constructing a five-movement symphony that achieves a cross-temporal dialogue. This paper emphasizes an investigation of the musical themes within this work， supplemented by an analysis of its structure， timbre， sound， and texture. It explores the intrinsic connections between the two compositions， revealing how two composers from different eras and cultural backgrounds achieved a profound spiritual resonance through their works.

Keywords： Boris Ivanovich Tishchenko （1939-2010）； musical themes； Symphony No. 8； Schubert； dialogue

 

民族、历史与接受

——玛丽娜·弗罗洛娃-沃尔克谈俄罗斯音乐研究

黄 雅，［英］玛丽娜·弗罗洛娃-沃尔克

摘 要：文章从“民族、历史与接受”三条线索，呈现黄雅与剑桥大学音乐学教授、英国国家学术院院士玛丽娜·弗罗洛娃-沃尔克的学术对话，系统探讨俄罗斯音乐研究中的若干核心问题，包括学术写作中的史料运用、叙事建构、判断立场、经典化以及跨文化接受等议题。在此基础上，通过对中俄音乐交流历史与接受经验的回顾，提出中文语境下俄罗斯音乐研究中立足本土经验、开展批判性对话的可能路径，并对中俄音乐交流史及中国语境中俄罗斯音乐的接受与研究作出反思与展望。文章不仅是对俄罗斯音乐研究脉络的一次梳理，也为跨文化音乐研究的方法论提供了深刻启示。 

关键词：俄罗斯音乐；音乐史学；学术访谈；方法论；玛丽娜·弗罗洛娃-沃尔克

作者简介：黄雅（1994— ），女，艺术学硕士，哈尔滨音乐学院音乐学系2023级西方音乐史方向博士研究生，国家公派剑桥大学联合培养博士生（哈尔滨 150028）；玛丽娜·弗罗洛娃-沃尔克（Marina Frolova-Walker，1966— ），女，音乐学博士，剑桥大学音乐学教授，英国国家学术院院士（FBA）。

Ethnicity, History, and Reception: Marina Frolova-Walker on Russian Music Studies

Authors： Huang Ya， Marina Frolova-Walker

Abstract: This article presents an academic dialogue between Huang Ya and Marina Frolova-Walker， Professor of Music at the University of Cambridge and Fellow of the British Academy， structured around three themes： ethnicity， history， and reception. The conversation systematically explores several core issues in Russian music studies， including the use of historical materials in academic writing， narrative construction， critical stances， canonization， and cross-cultural reception. Building upon this foundation， the article reviews the history of Sino-Russian musical exchange and reception experiences. It proposes feasible pathways for Russian music studies within the Chinese context to engage in critical dialogue grounded in local experience. Simultaneously， it offers reflections and prospects regarding the history of Sino-Russian musical exchange and the reception and study of Russian music within the Chinese context. This work not only traces the trajectory of Russian music studies but also provides profound methodological insights for cross-cultural music research.

Keywords： Russian music， music historiography， academic interviews， methodology， Marina Frolova-Walker

 

“多声部”后现代叙事中的强力集团群像

——评《穆索尔斯基和他的圈子：俄罗斯音乐冒险》

王含香，瞿 枫

摘 要：作为俄罗斯民族乐派的代表，强力集团及其创作长久以来都被人们与社会政治联系在一起。英国学者史蒂芬·沃什在其评传《穆索尔斯基和他的圈子：俄罗斯音乐冒险》中则另辟蹊径地在19世纪俄罗斯社会大背景下，勾勒了一幅独特的强力集团群像，其笔下的人物不再是符号式的形象，而是成为具有自我意识的独立“声部”，全书也呈现出一种“复调小说”的风格。本文将沿着沃什独特的视角，分析“多声部”特征在其著述的内容构建和写作手法上的体现，同时反思此书的后现代叙事策略与追求。 

关键词：史蒂芬·沃什；《穆索尔斯基和他的圈子：俄罗斯音乐冒险》；穆索尔斯基；强力集团；后现代叙事

作者简介：王含香（2000— ），女，上海音乐学院音乐学系西方音乐史方向2024级研究生（上海 200031）；瞿枫（1986— ），女，文学博士，浙江音乐学院音乐学系副教授，硕士研究生导师（杭州 310024）。

Portraits of the Mighty Handful in “Polyphonic” Postmodern Narratives: A Review of Musorgsky and His Circle: Russian Musical Adventure

Wang Hanxiang， Qu Feng

Abstract: As quintessential representatives of the Russian national school of music， the Mighty Handful and their musical creations have long been associated with socio-political contexts in academic circles. In his critical biography Musorgsky and His Circle： Russian Musical Adventure， British scholar Stephen Walsh takes a novel approach， sketching a distinctive portrait of the Mighty Handful against the macro backdrop of 19th-century Russian society. Under his pen， the figures cease to be symbolic representations and instead become self-aware， independent “voices，” giving the entire work the stylistic characteristics of a “polyphonic novel.” This paper will follow Walsh’s unique research perspective to analyze the concrete manifestations of this “polyphonic” feature in the construction of his work’s content and writing techniques， while also reflecting on the book’s postmodern narrative strategies and aspirations.

Keywords： Stephen Walsh； Musorgsky and His Circle： Russian Musical Adventure （New York： Alfred A Knopf， 2013）； Modest Mussorgsky； the Mighty Handful； postmodern narrative

 

俄罗斯音乐研究

浙江抗战音乐活动述论

——区域音乐文化的战时声景重构

李 俊

摘 要：抗战时期，浙江是战时战略地位非常重要的地区之一，是东南抗战的文化中心所在地，是联系前后方的重要通道。浙江各界民众整合各种资源，通过地理声景、社会声景、文化声景重构，以抗战为目标，开展轰轰烈烈的抗战音乐活动，形成了众多抗战文化团体及其歌咏活动，歌剧表演活动，民歌、民间器乐、戏曲等传统音乐活动相互交织的抗战声景网络，体现了政治动员、集体抵抗与文化认同的三维抗战功能。不仅凸显出浙江区域音乐文化通过抗战进行声景重构的变化，而且呈现出浙江抗战音乐文化的独特面貌，展示了中华民族抗战音乐史上丰富多彩的一面。 

关键词：抗战音乐；浙江；歌咏活动；传统音乐；声音景观

作者简介：李俊（1978— ），男，文学博士，台州学院艺术与设计学院教授，硕士研究生导师，浙江音乐学院长三角音乐历史与文化研究中心特约研究员（浙江台州 317000）。

A Discussion on Zhejiang’s War of Resistance Music Activities: Reconstructing Regional Musical Culture’s Wartime Soundscape

Li Jun

Abstract: During the War of Resistance， Zhejiang held a pivotal position in wartime strategic planning， serving as the cultural core of the southeastern part and a vital link between the front and rear lines. Mobilizing diverse resources， Zhejiang’s populace launched extensive wartime musical activities centered on resistance objectives through the reconstruction of geographical， social， and cultural soundscapes. These initiatives formed an interwoven wartime soundscape network comprising choral performances by numerous cultural resistance war groups， opera productions， and traditional music activities like folk songs， folk instrumental music， and opera. This network embodied the three-dimensional functions of political mobilization， collective resistance， and cultural identity. This not only highlights the transformation of Zhejiang’s regional musical culture through soundscape reconstruction during the War of Resistance but also reveals the unique characteristics of Zhejiang’s wartime musical culture， presenting the rich connotations of the Chinese nation’s wartime musical history.

Keywords： War of Resistance music； Zhejiang； choral activities； traditional music； soundscape

 

赵梅伯抗日音乐活动回顾

张思路，陶亚兵

摘 要：以1931年“九一八事变”为发端，日本帝国主义发动了长达14年的侵华战争。在这民族危亡的时刻，中国音乐家纷纷投身抗日活动之中，以音乐为武器，掀起了抗日歌咏浪潮。著名音乐家赵梅伯也全身心加入抗日爱国的行列，开展一系列与抗战密切相关的歌咏演出、歌曲创作，表达抗日爱国情怀。这期间，赵梅伯先以中国留学生的身份登上国外舞台，之后又以上海国立音乐专科学校教授及声乐组主任、西北音乐院院长的身份开展活动，具有广泛的社会影响力。回顾音乐家赵梅伯的抗日音乐活动，阐述其在抗日战争时期的音乐贡献，对丰富中国抗战音乐史的内容和致敬前辈的爱国精神具有一定的历史学价值和现实教育意义。 

关键词：赵梅伯；抗日音乐；中国近现代音乐史

作者简介：张思路（1995— ），女，哈尔滨音乐学院音乐学系 2024级博士研究生（哈尔滨 150028）；陶亚兵（1959— ），男，哈尔滨音乐学院教授，博士研究生导师（哈尔滨 150028）。

Retrospective on Zhao Meibo’s Resistance against Japanese Aggression Musical Activities

Zhang Silu， Tao Yabing

Abstract: Beginning with the September 18 Incident in 1931， Japanese imperialism launched a 14-year war of aggression in China. At this critical juncture for the nation’s survival， Chinese musicians actively engaged in resistance against Japanese aggression activities， wielding music as a powerful weapon to ignite a fervent wave of patriotic songs. Renowned musician Zhao Meibo wholeheartedly joined the patriotic resistance movement， undertaking a series of song performances and compositions closely tied to the war effort to express his patriotic sentiments. During this period， Zhao first gained international exposure as a Chinese student abroad， then leveraged his positions as Professor and Vocal Department Director at the Shanghai National Conservatory of Music and President of the Northwest Conservatory of Music to amplify his influence， achieving widespread societal impact. Reflecting on Zhao Meibo’s musical activities during the War of Resistance and elucidating his contributions to wartime music holds significant historical value and contemporary educational meaning for enriching the narrative of China’s wartime musical history and honoring the patriotic spirit of our predecessors.

Keywords： Wartime music； Zhejiang； Choral activities； Traditional music； Soundscape

 

清代以前中国古籍有关东南亚音乐的记述与史料价值

袁寿玉，孙梦青

摘 要：中国古籍中有关东南亚音乐的记述最早可追溯至公元2世纪，从汉唐至明清，历朝文献的记述对于东南亚音乐研究有着重要价值。文章围绕两个部分进行探讨：其一，清朝以前有关东南亚音乐记述的古籍与所记诸国古今地名的梳理；其二，清朝以前中国古籍中关于东南亚音乐的记述，包括朝贡献乐、地方风俗用乐以及出使游历所见等。 

关键词：清代以前；古籍；东南亚音乐；史料；价值

作者简介：袁寿玉（1993— ），男，哲学博士，烟台南山学院音乐与舞蹈学院音乐学系副教授（山东烟台 265700）；孙梦青（1984— ），女，哲学博士，华北水利水电大学人文艺术教育中心副教授（河南郑州 450046）。

Records of Southeast Asian Music in Pre-Qing Chinese Classics and Their Historical Value

Yuan Shouyu， Sun mengqing

Abstract: Records of Southeast Asian music in Chinese classics date back to the 2nd century CE. From the Han and Tang dynasties to the Ming and Qing dynasties， relevant accounts in historical texts hold significant value for the study of Southeast Asian music. This paper explores two main aspects： First， it catalogs ancient texts documenting Southeast Asian music prior to the Qing Dynasty and analyzes the historical and contemporary place names of the countries mentioned. Second， it examines the content of these historical records concerning Southeast Asian music， covering tribute music presented to the court， music used in local customs， and observations from diplomatic missions and travels.

Keywords： Pre-Qing Dynasty； Ancient Texts； Southeast Asian Music； Historical Materials； Value

 

音乐作品研究

21世纪中国交响合唱作品的“经典（化）”理论建构

——以交响合唱《金陵祭》《南梁颂》《今朝》为例

张宝华

摘 要：由于交响合唱作品的体裁擅长表达宏大叙事、抒发家国情怀、描绘时代风尚，近年来受到国家及地方专业团体的重视。21世纪中国交响合唱原创作品数量激增，题材广泛且风格各异，二十余年来，公开演出的交响合唱新作品不下百余部。从艺术价值角度来看，交响合唱排演难度大，耗时、耗力、耗钱多，几乎每一部交响合唱作品背后，都有国家或地方资金的扶持。如何避免创作出“一次性作品”？对于“中国交响合唱经典化理论建构”这一论题的提出不仅具有现实价值，更有未来意义。 

关键词：21世纪；中国交响合唱作品；“经典化”；理论建构

作者简介：张宝华（1982— ），男，艺术学博士，沈阳音乐学院教授，上海音乐学院博士后，中国音乐家协会特约评论员（沈阳 110818）。 

The Theoretical Framework for the Canonization of Chinese Symphonic Choral Works in the 21st Century

——Taking the Symphonic Choruses “Jinling Memorial,” “Ode to the Southern Liang,” and “Today” as Examples

Zhang Baohua

Abstract: Given the distinct advantages of the symphonic chorus genre in conveying grand narratives， expressing patriotic sentiments， and depicting the spirit of the times， it has garnered significant attention from national and regional professional ensembles in recent years. Entering the 21st century， the number of original Chinese symphonic choral works has grown rapidly， featuring diverse themes and distinctive styles. Over the past two decades， more than a hundred new symphonic choral works have been publicly performed. From an artistic value perspective， the production of symphonic choral works presents challenges such as high difficulty， lengthy rehearsal periods， substantial human resource investment， and significant financial expenditure. Virtually every symphonic choral work relies on national or local funding support. Avoiding the creation of “one-off works” has become an urgent issue. Against this backdrop， the proposal of “Theoretical Framework for the Canonization of Chinese Symphonic Choral Works” holds significant practical relevance and profound implications for future development.

Keywords： 21st Century； Chinese Symphonic Choral Works； Canonization； Theoretical Framework

 

技术与审美交融 传统与现代贯通

——析民族管弦乐《畅想虎丘》

焦佳欣

摘 要：徐昌俊的民族管弦乐《畅想虎丘》为组曲《江南》的第一乐章，创作于2022-23年，是一部兼具纯音乐与交响音画特质的作品。文章以《畅想虎丘》为研究对象，探究作品中传统因素与现代技术的相互交融关系。首先，从作品的结构切入，分析在传统曲式框架中，由于内心听觉的融入从而形成双重性的结构特征；其次，从主题材料出发，分析作品中昆曲因素的提取、展开及其与现代音高结构的结合方式；再次，解析作品中的复节奏与轮转序列等现代技术手法，揭示其中所渗透的传统音乐内涵。最终，阐述作曲家如何在彰显地域音乐特点的同时，实现个人审美趋向与现代作曲技术的平衡。 

关键词：徐昌俊；《畅想虎丘》；音乐结构；昆曲因素；复节奏；轮转序列 

作者简介：焦佳欣（1997— ）女，中央音乐学院作曲系2023级博士研究生（北京 100031）。

The Fusion of Technique and Aesthetics: Bridging Tradition and Modernity

——An Analysis of the Chinese Orchestra Work Fantasy on Tiger Hill

Jiao Jiaxin

Abstract: Composed by Xu Changjun in 2022-23， the Chinese orchestra work Fantasy on Tiger Hill serves as the first movement of the suite Jiangnan Suite. This piece seamlessly blends characteristics of both pure music and symphonic tone painting. This paper examines the interplay between traditional elements and modern techniques in the work. First， it analyzes the work's structural duality—a duality arising from the integration of inner hearing within a traditional formal framework. Second， based on thematic material， it explores how Kunqu opera elements are extracted， developed， and combined with modern pitch structures. Third， it examines modern techniques like polyrhythm and rotational sequences to reveal their traditional musical underpinnings. Finally， it elucidates how the composer balances regional musical identity with personal aesthetic vision and contemporary compositional techniques.

Keywords： Xu Changjun； Fantasy on Tiger Hill； musical structure； Kunqu elements； polyrhythm； rotary sequences

 

胡梅尔的精致风格与19世纪维也纳钢琴

——以《24首钢琴练习曲》Op. 125为例

王 莹

摘 要：胡梅尔是古典向浪漫时代转型期的一位重要作曲家，其钢琴音乐风格以“精致”著称。本研究认为凸显胡梅尔钢琴音乐精致风格的精髓是“清晰发音”（articulation），该品质与维也纳钢琴的表现性能高度契合，故以《24首钢琴练习曲》Op. 125为对象，从音与音的连接方式、断连关系、触键技巧、时值控制等方面分析清晰发音的具体表征，从乐器制造工艺视角揭示其演奏技巧因细节繁冗被历史边缘化的原因，从而为一种音乐风格的形成、确立以及衰退拓展新的研究视角。 

关键词：胡梅尔；精致风格；维也纳钢琴；《24首钢琴练习曲》Op. 125

作者简介：王莹（1981— ），女，艺术学博士，黄山学院艺术学院讲师（黄山 245011）。

Hummel’s Refined Style and 19th-Century Viennese Piano: The Case of the 24 Piano Etudes, Op. 125

Wang Ying

Abstract: As a pivotal composer bridging the transition from Classicism to Romanticism， Hummel’s piano music is renowned for its refined aesthetic. This study identifies articulation as the core element defining the refined style of Hummel’s piano music， a characteristic that aligns exceptionally well with the expressive capabilities of the Viennese piano. Therefore， taking the 24 Piano Etudes， Op. 125 as the research subject， this study analyzes the concrete manifestations of clear articulation from dimensions such as note-to-note connection patterns， articulated relationships， touch techniques， and control of rhythmic values. It reveals， from the perspective of instrument manufacturing craftsmanship， why these intricate performance techniques became marginalized in historical development. This approach opens new research perspectives on the formation， establishment， and decline of a particular musical style.

Keywords： Hummel； refined style； Viennese piano； 24 Piano Etudes， Op. 125

 

音乐话题理论视域下巴托克《钢琴奏鸣曲》（Sz. 80）中的“世界主义”

钱滢舟

摘 要：“音乐话题”理论为20世纪80年代美国音乐学家莱纳德·拉特纳提出，该“话题”从18世纪社会文化生活符号发展成多维度的音乐分析方法，创造出一种音乐分析和阐释的新路径。文章以“音乐话题”（Topics）理论为切入点，解析巴托克创作成熟时期的作品《钢琴奏鸣曲》（Sz. 80）中对军事、田园、情感风格等 18世纪惯例话题所进行的创造性转化，探讨自我与社会、世俗与宗教、理性与情感的辩证表达，从而展现其对阶级、地域与多元文化边界的突破，进而映射出“世界主义”的核心——探索非排他性、无限制的音乐表达方式，在多元冲突中构建共享文化空间。 

关键词：音乐话题；莱纳德·拉特纳（Leonard Ratner，1916-2011）；巴托克；军事话题；世界主义

作者简介：钱滢舟（1992— ），女，艺术学博士，南昌大学艺术学院音乐系讲师（南昌330031）。

Exploring Cosmopolitanism in Bartók’s Piano Sonata (Sz. 80) through the Lens of Music Topos Theory

Qian Yingzhou

Abstract: The theory of Musical Topics， proposed by American musicologist Leonard Ratner in the 1980s， evolved from symbols of 18th-century socio-cultural life into a multidimensional method of musical analysis， opening new avenues for musical analysis and interpretation. This paper employs the Musical Topics theory as its analytical framework to dissect Béla Bartók’s Piano Sonata （Sz. 80）， composed during his mature period. It examines the creative transformation of conventional 18th-century topics such as the military， pastoral， and sentimental themes—conventional subjects of the 18th century. It explores the dialectical presentation of self versus society， secular versus religious， and reason versus emotion， demonstrating Bartók’s transcendence of class， regional， and multicultural boundaries. This reflects the core essence of “cosmopolitanism”—seeking non-exclusive， unrestricted forms of musical expression to construct shared cultural spaces amidst diverse conflicts.

Keywords： musical themes； Leonard Ratner （1916-2011）； Bartók； military themes； cosmopolitanism