中国近现代音乐史研究
抗日救亡主题歌咏深描
李岩
摘要：作为近代中国音乐文化的重要组成部分，近代中国抗日救亡主题歌咏于抵御外侮、争取民族独立及人民解放过程，发挥了不可替代的理性价值。其内在的爱国主义情怀不仅是团结民心、激发民性、凝聚民力的“催化剂”，更是反抗日本侵略、保卫国家主权、振奋民族精神的有力思想武器。故此，本文以近代中国的抗日重大历史事件为谱系，围绕：回顾·重识、危机·意识、“淞沪·战歌”、大刀精神、离愁别绪、统一战线、打回老家、历史拐点、反攻集结号九个方面，对近代中国抗日救亡主题歌咏及其历史意义展开深描。
关键词：抗日救亡主题歌咏；抵御外侮；爱国主义情怀；思想武器；历史意义
作者简介：李 岩（1958—），男，《天津音乐学院学报》常务副主编，中国艺术研究院研究生院硕士、博士研究生导师（北京102218）。
A Systematic Research on Thematic Singing for Resistance against Japan and National Salvation
Li Yan
Abstract: As a significant component of modern Chinese musical culture, the thematic singing of China's Resistance against Japan and National Salvation possesses irreplaceable rational value in the course of resisting foreign aggression and striving for national independence and people's liberation. The patriotic sentiments embodied in this singing served not only as a catalyst for uniting the people's will, awakening national consciousness, and galvanizing popular strength, but also as a powerful ideological weapon for resisting Japanese invasion, safeguarding state sovereignty, and inspiring the national spirit. In light of this, taking major historical events of China's Resistance against Japan as a contextual thread, this paper offers an in-depth exposition of the thematic singing of Resistance against Japan and National Salvation and its historical significance from nine dimensions: retrospect and re-cognition, crisis and consciousness, "Shanghai·the Song of the Battle", the spirit of the sword, the melancholy of parting, the united front, fighting back to the homeland, the historical turning point, and the rallying call for the counteroffensive.
Key words: thematic singing of Resistance against Japan and National Salvation; resisting foreign aggression; patriotic sentiments; ideological weapon; historical significance
清末师范音乐教科书《音乐体操》研究
柳笛，冯长春
摘要：《音乐体操》是江苏师范学堂留日生集体编纂的课本，1906年由江苏宁属、苏属学务处出版。其作为较早由省级教育行政机构统编出版的师范音乐教科书，对考察清末文化转型期的音乐教育状况，有着较高的史料与学术价值，然学界对此尚无研究。本文以该书为对象，在分析其教学内容的同时，对其中乐歌曲调的源流加以考证，审定相关旧说，并以此为切入点，引起学界对晚清音乐教科书，及其在新式学堂音乐课中的使用这一文化现象的关注与重视。
关键词：江苏师范讲义；《音乐体操》；清末音乐教科书
作者简介：柳笛（1998—），女，上海音乐学院2024级中国近现代音乐史专业在读博士研究生；冯长春（1971—），男，文学博士，上海音乐学院音乐学系教授、博士研究生导师（上海 200031）。
A Study of the Late Qing Normal-School Music Textbook Music and Gymnastics
Liu Di, Feng Changchun
Abstract: Published in 1906 by the Jiangsu Provincial Educational Affairs Office (Nanjing and Suzhou branches), Music and Gymnastics [Yinyue Ticao] is a textbook collectively compiled by students of the Jiangsu Normal School who had studied in Japan. As an early normal-school music textbook uniformly compiled and published by a provincial-level educational administrative institution, it possesses considerable historical and academic value for investigating the state of music education during the cultural transformation of the late Qing period. To date, however, it has not attracted scholarly attention. Taking this book as its research object, this paper analyzes its pedagogical content, traces the musical origins of the songs contained therein, and critically re-examines certain established views. The authors hope that this study will stimulate academic interest in and attention to late Qing music textbooks and to the cultural phenomenon of their use in the music classes of new-style schools.
Key words: Jiangsu Normal School lecture notes; Music and Gymnastics [Yinyue Ticao]; late Qing music textbooks
故土的呼唤：江文也作品中的“离散”主题
孙培培
摘要：文章以音乐家江文也为研究对象，主要探讨江文也作品中的“离散”主题。江文也自登上乐坛以来，音乐创作极为丰富，其中都蕴含着“离散者”的影子。这与江文也本身迁移于我国台湾、香港及日本的经验有关，在不断地迁移中，他积累了相当多的离散经验，同时更加注意到身份认同及原乡的重要性，反映在其作品中便是本文将要讨论的“离散主题”。
关键词：江文也；音乐作品；离散；身份认同
作者简介： 孙培培（1987—），女，哈尔滨音乐学院音乐学系2024级博士研究生，海南师范大学教师教育学院讲师（哈尔滨150028）。
The Call of the Homeland: The Theme of Diaspora in the Works of Jiang Wenye
Sun Peipei
Abstract: This paper takes the Taiwan-resident composer Jiang Wenye as its research subject and focuses on the theme of diaspora in his works. Since the very beginning of his career, Jiang Wenye produced extraordinary musical outputs, much of which contains the imagery of a diasporic subject. This is intimately related to his peripatetic life across Taiwan, Japan, and Hong Kong; his accumulated diasporic experiences during these continuous migrations led him to pay increasing attention to the importance of identity and the primordial homeland. The reflection of this concern in his musical outputs is the diaspora theme which constitutes the core subject of the present study.
Key words: Jiang Wenye; musical works; diaspora; identity
中国传统音乐研究
制度、知识、话语：中国传统音乐学科自主知识体系的生成与演进
冯亚，周阳
摘要：中国传统音乐学科知识体系的建构，在高校教育系统中经历了一个从制度引入、内生发展到体系化构建的演进过程。早期阶段，伴随西方学科范式的引入，传统音乐开始被纳入制度化的专业教育框架，初步形成知识门类的同时亦受到西方音乐学术框架的规约。随着学科建设的推进，以“民族音乐理论”为核心，通过《民族音乐概论》的编纂初步完成知识的系统性整合；此后，民族音乐学等外源理论的传入引发了方法论的基础与知识结构的扩容，并推动了“中国传统音乐学”概念的形成。至学科体系趋向成熟的阶段，以“三大乐系”“支脉论”及“四分法”为框架的本体论基础得以奠定，教材、课程与“学科群”建设日益丰富，学科系统更趋于开放与交融。这一历程最终塑造了以文化自觉为根基、以系统化为特征的自主知识体系，标志着中国传统音乐学科在现代化进程中的主体确立。
关键词：中国传统音乐学；学科体系；知识体系；话语权
作者简介：冯亚（1973—），女，音乐学博士，中国传媒大学艺术研究院教授，博士生导师；周阳（1990—），男，中国传媒大学艺术研究院博士研究生（北京 100024）。
Institution, Knowledge, Discourse: The Formation and Evolution as an Independent Knowledge System Discipline of the Traditional Chinese Music
Feng Ya, Zhou Yang
Abstract: The construction of the knowledge system of traditional Chinese music as a discipline within China‘s higher education system has undergone a process of evolution encompassing system introducing, endogenous development, and systematic consolidation. In the early stages, with the introduction of Western disciplinary paradigms, traditional music was incorporated into the institutionalized system of professional education; while preliminarily establishing its knowledge categories, it was concurrently constrained by the frameworks of Western music scholarship. As disciplinary construction deepened, a preliminary systemic integration of knowledge was achieved through the compilation of An Introduction to Chinese Folk Music, with theories of national music serving as the core. Subsequently, the advent of imported theories such as ethnomusicology triggered methodological conflicts and an expansion of the knowledge structure, further impelling the formation of the concept of “traditional Chinese musicology”. As the disciplinary system approached maturity, its ontological foundations were established on the frameworks of the “three major musical systems”, the “branch thesis”, and the “fourfold classification”, while the construction of teaching materials, curricula, and disciplinary clusters has continuously enriched the system, rendering it more open and syncretic.
Key words: traditional Chinese musicology; disciplinary system; knowledge system; discursive power
百年回眸：走向体系化阐释的中国民间音乐研究
刘益行，赵书峰
摘要：历经百年的中国民间音乐研究，其学术史本身即是一部走向体系化阐释的思想演进史。这一历程展现了研究范式从早期的形态描摹与曲目采录，逐步转向多维度的艺术本体分析、社会文化功能探究及跨学科理论对话的时代转型。在“民间音乐”概念建构与分类体系的持续探讨中，针对民歌、器乐、戏曲、说唱、乐舞五大类别的学理探索，构筑了不同历史阶段的方法论创新与代表性成果。直面当下，现有研究在整体理论体系、文化逻辑阐释及多文化比较视野上尚存障。基于对历史经验的总结与学理反思，方能为中国音乐学及中国民间音乐自主知识体系的建构与完善，提供坚实的理论支撑与学术参照。
关键词：民间音乐；体系化阐释；学术史；研究范式；活态传承
作者简介：刘益行（1993—）男，哲学博士，湖南师范大学“中国南方传统音乐文化研究中心”兼职研究员（长沙 410081）；赵书峰（1972—）男，文学博士，湖南师范大学音乐学院二级教授、博士研究生导师，中国艺术人类学学会副会长，中国南方传统音乐文化研究中心首席专家（长沙 410081）。
A Century in Retrospect: The Study of Chinese Folk Music Moving toward Systematic Interpretation
Liu Yixing, Zhao Shufeng
Abstract: The scholarly history of Chinese folk music research over the past century is, in essence, an intellectual evolution toward systematic interpretation. This process reflects a paradigmatic shift from the early morphological description and the collection of repertoires toward a multi-dimensional analysis of artistic ontology, an investigation of socio-cultural functions, and cross-disciplinary theoretical exchange. Within the sustained scholarly debates on the definition of the concept of “folk music” and its classification system, this article conducts a theoretical inquiry structured around five major categories—folk song, instrumental music, Xiqu [traditional opera], Shuochang [narrative singing], and music-dance—and delineates methodological innovations and representative achievements across different historical phases. On this basis, the paper reflects upon the present state of research, noting that existing scholarship remains deficient in terms of an overarching theoretical system, the interpretation of cultural logic, and multi-cultural comparative perspectives. The author argues that only through a synthesis of historical experience and critical epistemological reflection can a solid theoretical underpinning and an academic reference be provided for the construction and refinement of an independent knowledge system for Chinese musicology and Chinese folk music.
Key words: folk music; systematic interpretation; scholarly history; research paradigm; living transmission
基于晋唐正史“艺术传”中的古代琵琶及与古琴的关系
谢九生，钟爱芳
摘要：晋唐正史“艺术传”中存在着古代琵琶的史料，通过对“胡琵琶”之渊源及相关记载进行考辨，与分析琵琶作为“古代说唱艺术”的伴奏乐器及与“变文”的关系和作为艺术赋的一种“琵琶赋”的内涵与特点，以及在隋唐以后琵琶多被视为“杂音乐器”之首，而与文人专有乐器的古琴进行雅与俗的对比。以及晋唐正史“艺术传”之音乐观念与古代文人音乐艺术在“尚雅”方面的共性，并由琵琶艺术在古代音乐艺术中的特殊地位探究艺术琴与文人琴的区别。因此，由晋唐正史“艺术传”的记载可以探究古代琵琶艺术的渊源、发展和特点及其与古琴、文人音乐艺术的密切关系。并说明晋唐正史“艺术传”在古代琵琶、音乐艺术史方面的价值，与强调其作为中国艺术史文献所具有的重要意义。
关键词：正史；艺术传；琵琶；古琴艺术；艺术
作者简介：谢九生（1975—），男，艺术学博士，江西师范大学美术学院讲师，硕士生导师（南昌330022）；钟爱芳（1978—），女，江西师范大学校医院主治医师（南昌330022）。
Ancient Pipa in the Yi Shu Zhuan of the Jin and Tang Official Histories and Its Relationship with the Chin
Xie Jiusheng, Zhong Aifang
Abstract: The Yi Shu Zhuan [Biographies of Occult Arts and Technical Skills] in the official histories of the Jin and Tang dynasties contain valuable historical materials concerning the ancient Pipa [Chinese Lute]. Through a textual analysis of the origins of the Hu Pipa [foreign lute] and related records, this article analyzes the connection between the Pipa as an accompanying instrument for ancient Shuochang [narrative singing] and Bianwen [transformation texts], as well as the connotations and characteristics of the Pipa Fu (Pipa rhapsody) as a subgenre of artistic rhapsodies. Moreover, given that the Pipa was largely regarded as the foremost among Zayue [Miscellaneous Music] instruments from the Sui and Tang periods onward, the author not only contrasts it, along a refined-versus-popular axis, with the Chin, the instrument exclusive to the literati, but also explores the musical concepts underlying the Yi Shu Zhuan and their common ground with the Shangya [advocacy of elegance] in ancient literati music art. Based on the special status of Pipa art in ancient musical art, the paper further explores the difference between the Yishu Chin and the Wenren Chin [literati]. The author contends that the records contained in the Yi Shu Zhuan of the Jin and Tang official histories enable a deeper investigation into the origins, development, and characteristics of ancient Pipa art, as well as its close relationship with Chin and literati music art. This demonstrates the value of these Yi Shu Zhuan for the history of ancient Pipa and of musical art more broadly, and underscores their significance as documents of Chinese art history.
Key words: official history; Yi Shu Zhuan [Biographies of Occult Arts and Technical Skills]; Pipa; Chin art; Pipa Fu (Pipa rhapsody)
俄罗斯音乐研究
历史话语中的俄罗斯音乐民族性问题及其反思
周婉怡
摘要：俄罗斯音乐及其历史的理解是在模糊的民族大厦中形成的，因此，俄罗斯音乐的民族性实际上可以作为一个完整的话语来进行系统性考察。哲学与文学的蓬勃发展让俄罗斯民族享有了在批判性思维和抽象性理解上的绝对实力，作为世界上第一个马克思主义革命成功的民族，俄罗斯在民族性这一问题上也创造了独有的言说场域。同时，历史论说不但赋予了俄罗斯音乐相对成熟的文化符号和话题标签，也进一步带出深刻而尖锐的争议性问题。本文从内部言说场域、外部话题要素、主要争议性问题这三个方面对俄罗斯音乐民族性的历史话语问题展开了新视域讨论与批判性反思。
关键词：俄罗斯音乐；民族性；历史话语
作者简介：周婉怡（1993），女，音乐学博士，湖南师范大学在站博士后（长沙 410081）。
The Question of Russian Musical Nationality in Historical Discourse and Its Critical Reflection
Zhou Wanyi
Abstract: The understanding of Russian music and its history has been nurtured within a conceptually ambiguous framework of nation. In view of this, the national character of Russian music can be systematically examined as a complete discursive system. The flourishing of Russian philosophy and literature endowed the Russian nation with marked advantages in critical thinking and abstract cognition; as the first nation in the world to successfully carry out a Marxist revolution, Russia has also constructed a distinctive discursive arena on questions of nationality. At the same time, historical narratives have not only furnished Russian music with relatively mature cultural symbols and thematic markers but have also given rise to profound and acutely contentious issues. This article engages in a critical discussion and reflection, from a new perspective, on the historical discourse of Russian musical nationality across three dimensions: the internal discursive arena, the external thematic elements, and the principal contentious issues.
Key words: Russian music; nationality; historical discourse
聆听北极——俄罗斯学术视野中的“北极声音景观”研究
李祖琪，李然
摘要：“北极声音景观”是俄罗斯北极文化与艺术研究所的学者共同建构的一种面向北极与亚北极地区世居民族音乐民俗研究的理论范式。该理论旨在关注北极音乐民俗中那些长期游离于学术视野之外，却对世居族群具有重要意义的声音现象。理论建构的核心人物是尤里·伊里奇·谢伊金教授（Шейкин Ю. И.）和奥克萨娜·爱杜阿尔多夫娜·多布让斯卡娅教授（Добжанская О. Э.）。文章基于作者与多布让斯卡娅的访谈资料，并结合相关文献展开研究，主要围绕理论创立者对“北极”概念的多维界定、范式生成的实地经验与思想源泉、方法论中的分层结构及其研究边界的延展趋势展开论述，并在此基础上探讨该范式对中俄跨界族群及中国北方少数民族音乐研究的启示。
关键词：声音景观；西伯利亚音乐；民族音乐学；谢伊金；多布让斯卡娅
作者简介：李祖琪（1998），女，哈尔滨音乐学院音乐学系2024级音乐人类学方向博士研究生；李然（1978），女，哈尔滨音乐学院音乐学系教授、博士研究生导师（哈尔滨 150028）。
Listening to the Arctic: A Study of the “Arctic Sounding Soundscape” from the Russian Scholarly Perspective
Li Zuqi, Li Ran
Abstract: The “Arctic Sounding Soundscape” constitutes a theoretical paradigm jointly constructed by scholars of the Russian Institute of Arctic Culture and Arts for the musical folklore research of indigenous peoples inhabiting the Arctic and Subarctic regions. This theoretical approach focuses on sonic phenomena within Arctic musical folklore that, despite their long-standing marginalization in academic research, hold significant value for the indigenous groups concerned. The central figures in the construction of this theory are Professor Yuri Ilyich Sheikin (Шейкин Ю. И.) and Professor Oksana Eduardovna Dobzhanskaya (Добжанская О. Э.). Drawing on the authors’ interviews with Professor Dobzhanskaya and on the relevant literature, this paper discusses the founders’ multidimensional definition of the concept of the “Arctic”, the fieldwork experience and intellectual origins underlying the paradigm’s formation, the stratified structure embedded in its methodology, and the trajectory of its expanding research boundaries. On this basis, the paper further explores the paradigm’s implications for the study of Sino-Russian cross-border ethnic groups and of the music of northern ethnic minorities in China.
Key words: soundscape; Siberian music; ethnomusicology; Sheikin; Dobzhanskaya
音乐美学与作曲技术理论研究
现代诠释学视域下“音乐的意义及其理解问题”考辨
孙慧，张立驰
摘要：“音乐的意义及其理解问题”是音乐美学的一个根本性问题，自1985年于润洋提出起，便引起了学界的持久兴趣，取得不少可喜的理论成果，但在音乐领域对现代诠释学的理解与应用仍存在误解和误用，也产生了一些争议。关于诠释学的重心——文本，音乐学界形成了“乐谱说”“作品属性说”“思想情感说”三种立场，各有缺陷，对于音乐作品意义的理解，并未区分“meaning”和“significance”两种不同的取向，有待深化和补充。廓清“音乐的意义及其理解问题”的哲学根基，辩证看待对音乐文本的讨论并科学界定其内涵，厘清以“意义”为旨趣的音乐理解的内在逻辑，形成方法论诠释学与本体论诠释学的整体性思考，对于建构中国自主的音乐知识体系以及音乐文化的传承发展具有一定的补正意义。
关键词：现代诠释学；音乐的意义；理解
作者简介：孙慧（1984—），女，哲学硕士，浙江音乐学院马克思主义学院讲师，安徽师范大学马克思主义学院2024级博士研究生（杭州 310024）；张立驰（1975—），男，法学博士，教授，中共中央党校出版社社长（北京 100089）。
A Critical Examination of the Meaning of Music and the Problem of Its Understanding from the Perspective of Modern Hermeneutics
Sun Hui, Zhang Lichi
Abstract: The meaning of music and the problem of its understanding is a core topic in the field of music aesthetics. Since Professor Yu Runyang first raised this proposition in 1985, scholarly circles have sustained a strong interest in it, achieving considerable and laudable theoretical progress. Nevertheless, within the domain of music studies, certain misunderstandings and misapplications persist regarding the understanding and use of modern hermeneutics, which have correspondingly given rise to some academic disputes. With regard to the TEXT—the very core of hermeneutics—three principal views have taken shape among musicologists: the musical score theory, the work-attribute theory, and the thought-emotion theory, each of which possesses certain limitations. At the same time, in the cognition of musical meaning, the field has yet to draw a clear distinction between the two divergent orientations of MEANING and SIGNIFANCE, and the relevant research stands in urgent need of deepening and supplementation. Therefore, clarifying the philosophical foundations of “the meaning of music and the problem of its understanding”, dialectically examining and scientifically defining the connotation of the musical text, sorting out the internal logic of musical understanding centered on MEANING, and constructing an integrated reflection encompassing both methodological and ontological hermeneutics, are all of corrective value for the construction of China’s independent musical knowledge system and for the inheritance and development of musical culture.
Key words: modern hermeneutics; musical meaning; understanding
皮埃尔·布迪厄音乐批判美学思想研究
董一舟
摘要：作为当代法国著名社会学家和文艺理论家，皮埃尔·布迪厄以坚定的学术立场、开放的理论视域、敏锐的批判意识，构建了一种从音乐社会学宏观角度出发对音乐生态进行综合研究的批判理论体系。布迪厄音乐批判美学思想主要围绕艺术消费异化的三个维度延展：其一，他主张突破传统美学将音乐视为自律领域的理论局限，将其重新置于社会关系的艺术网络中进行全面考察；其二，他试图揭示音乐审美中隐藏的权力关系，指出所谓“高雅音乐”的合法性本质上是文化统治的象征表现；其三，他提出音乐审美能力的形成深受“惯习”影响，个体的音乐偏好实际上是由其阶级地位和教育背景所塑造的认知图式决定的，从根本上解构了康德式“纯粹美学”的普遍性假设。于数字音乐时代，重新审视布迪厄的音乐批判理论，有助于研究者更清晰地把握音乐审美背后的社会权力结构，进而完善兼具融合理念与创新意识的音乐文化生态新秩序。
关键词：皮埃尔·布迪厄；音乐批判美学思想；资本载体批判；场域空间批判
作者简介：董一舟（1991—），女，教育硕士，哈尔滨音乐学院艺术学系2023级博士研究生，讲师（哈尔滨 150028）。
A Study of Pierre Bourdieu‘s Critical Aesthetic Thought on Music
Dong Yizhou
Abstract: As an influential contemporary French sociologist and literary and art theorist, Pierre Bourdieu, by virtue of his firm academic stance, open theoretical vision, and keen critical consciousness, constructed a critical theoretical system that undertakes a comprehensive investigation of the musical ecology from the macro-perspective of the sociology of music. Bourdieu’s critical aesthetic thought on music centers upon three dimensions of the alienation of artistic consumption. First, he advocated breaking through the theoretical shackles of traditional aesthetics that regard music as an autonomous realm, relocating music within the artistic network of social relations for holistic examination. Second, he sought to unveil the power relations latent in musical aesthetics, pointing out that the legitimacy of so-called “elegant music” is, in essence, a symbolic embodiment of cultural domination. Third, he proposed that the formation of musical aesthetic competence is profoundly shaped by the “habitus”, and that an individual’s musical preferences are in fact determined by cognitive schemata molded by class position and educational background, thereby fundamentally deconstructing the Kantian presumption of the universality of “pure aesthetics”. In the era of digital music, re-examining Bourdieu‘s critical theory of music can assist researchers in more clearly discerning the social power structures behind musical aesthetic judgments, and thereby contribute to refining a new order of the musical cultural ecology that combines integrative ideals with innovative consciousness.
Key words: Pierre Bourdieu; critical aesthetic thought on music; critique of the carrier of capital; critique of field space
雷格尔《巴赫主题变奏曲与赋格》的主题变奏逻辑与赋格发展
王伯达，张磊
摘要：《巴赫主题变奏曲与赋格》（Variations and Fugue on a Theme by Bach, Op. 81）是德国著名作曲家雷格尔于1904年创作的钢琴作品，是其对巴赫复调传统进行系统性回应与重构的重要代表。文章以该作品为研究对象，结合谱例分析，从主题解构、主题变奏以及赋格发展等层面，对作品的整体结构与内在生成逻辑进行深入研究，旨在揭示雷格尔处理历史主题资源的创作逻辑及其在复调音乐发展史中的过渡性意义，为理解20世纪初复调写作的现代转向提供新的分析视角。
关键词：雷格尔；巴赫主题；变奏曲；赋格
作者简介：王伯达（1994—），男，哈尔滨音乐学院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）。
The Logic of Thematic Variation and Fugal Development in Reger’s Variations and Fugue on a Theme by Bach
Wang Boda, Zhang Lei
Abstract: Variations and Fugue on a Theme by Bach, Op. 81, a piano work composed in 1904 by the eminent German composer Max Reger, stands as an important representative work in which he systematically responded to and reconstructed Bach’s polyphonic tradition. Based on an analysis of this work, this study conducts an in-depth inquiry into its overall architecture and inherent generative logic along the dimensions of thematic deconstruction, thematic variation, and fugal development. It aims to reveal the compositional logic with which Reger handled historical thematic resources, as well as the work‘s transitional value in the developmental trajectory of polyphonic music, thereby offering a new analytical perspective for understanding the modernist turn in early twentieth-century polyphonic writing.
Key words: Reger; Bach theme; variations; fugue; Variations and Fugue on a Theme by Bach
会议综述
开新局、立新意——2025中国弓弦艺术节综述
李好
摘要：由哈尔滨音乐学院主办，宋飞胡琴艺术研究中心、哈尔滨音乐学院民乐系承办，哈尔滨音乐学院科研处（艺术实践处）协办的“2025中国弓弦艺术节”在哈尔滨音乐学院成功举办。通过“创作、表演、教学、研究”四位一体的立体架构，构建了涵盖四大主题音乐会、七场专题讲座、公开课及高端研讨会的多元学术与艺术场域。本届中国弓弦艺术节立足于新时代民族弓弦乐发展的新局面，以“守正创新”为艺术节的主旨立意，通过解析音乐会作品演绎、学术讲座内涵与研讨会议题，探讨胡琴艺术在传承与创新、技术与人文、专业与普及等方面再开新局的路径，为民族弓弦艺术新的发展提供可鉴经验与实践启示。
关键词：2025中国弓弦艺术节；胡琴艺术；守正创新；创演教研
作者简介：李好（1994），女，哈尔滨音乐学院音乐学系2025级博士研究生（哈尔滨 150028）。
Opening New Prospects and Establishing Fresh Insights: A Review of the 2025 Chinese Bow-String Art Festival
Li Hao
Abstract: Hosted by the Harbin Conservatory of Music, organized by the Song Fei Huqin Art Research Center and the Department of Chinese Folk Instruments of the Harbin Conservatory of Music, and co-organized by the Research Office (Art Practice Office) of the Harbin Conservatory of Music, the 2025 Chinese Bow-String Art Festival was successfully held at the Harbin Conservatory of Music. Relying on a three-dimensional framework integrating “creation, performance, teaching, and research”, this year’s festival meticulously constructed a multi-dimensional scholarly and artistic platform comprising four major themed concerts, seven thematic lectures, open classes, and high-level seminars. Taking the new situation of the development of ethnic bowed-string music in the new era as its point of departure and “holding tradition and pursuing innovation” as its core theme, the festival, through an in-depth analysis of the concert repertoire interpretations, the content of scholarly lectures, and the seminar topics, thoroughly explored the practical pathways for the art of Huqin to break new ground in the dimensions of inheritance and innovation, technique and humanistic cultivation, and specialization and popularization. It thus provided valuable experiential reference and practical inspiration for advancing the innovative development of the art of ethnic bowed-string instruments.
Key words: 2025 Chinese Bow-String Art Festival; Huqin art; holding tradition and pursuing innovation; creation-performance-teaching-research
艺术与科学的跨界融合到共生共创——基于中国·哈尔滨第二届“艺术与科学”学术前沿问题国际论坛学术话语分析
宋蓓，王亚伦
摘要：为深入贯彻国家创新驱动发展战略，主动顺应智能数据时代艺术与科学深度融合的发展浪潮，积极推动人工智能、神经美学等前沿领域与艺术表演、艺术教育、艺术传播等领域的创新融合。“中国哈尔滨·第二届‘艺术与科学’学术前沿问题国际论坛”于2025年12月5日至7日在哈尔滨音乐学院顺利召开。本次论坛聚焦艺术与科学融合创新的前沿议题，深入探讨艺术与科学如何在当今数字技术驱动的社会中相互交织、融合与创新，推动跨学科的研究与实践发展。
关键词：艺术与科学；跨界融合；交叉学科
作者简介：宋蓓（1977—），女，音乐学博士、心理学博士后，哈尔滨音乐学院教务处处长兼艺术学系主任，教授，博士研究生导师，哈尔滨音乐学院音乐心理疗愈创新实验室负责人（哈尔滨 150028）；王亚伦（1999—），女，艺术学硕士，哈尔滨音乐学院艺术学系艺术心理学方向2025级博士研究生，哈尔滨音乐学院音乐心理疗愈创新实验室科研助理（哈尔滨 150028）。
From Cross-Border Integration to Symbiotic Co-Creation between Art and Science: An Analysis of the Academic Discourse at the Second Harbin, China International Forum on “Art and Science” Frontier Issues
Song Bei, Wang Yalun
Abstract: In order to thoroughly implement the national innovation-driven development strategy, proactively align with the developmental trend toward deep integration between art and science in the era of intelligent data, and actively promote the innovative convergence of cutting-edge fields, such as artificial intelligence and neuroaesthetics, with artistic performance, art education, and art communication, the Second Harbin, China International Forum on Frontier Issues of “Art and Science” was successfully convened at the Harbin Conservatory of Music from December 5 to 7, 2025. This forum focused on frontier topics concerning the integrated innovation of art and science and conducted in-depth explorations of how art and science can achieve mutual imbrication, integration, and innovation in a society driven by contemporary digital technology, so as to promote the development of cross-disciplinary research and practice.
Key words: art and science; cross-border integration; interdisciplinary
新时代中国交响乐团高质量发展路径探究
王 帅
摘要：在新时代文化强国战略背景下，中国交响乐团正积极探索从规模扩张向内涵式发展的转型之路。本文基于中国音协交响乐团联盟2025年度会议的一手资料，结合多案例比较分析法，系统梳理会议研讨成果，将当前高质量发展路径归纳为“经济—艺术—组织”三大核心维度。在经济维度上，各乐团通过运营机制创新，增强可持续发展的内生动力；在艺术维度上，通过联合委约、跨界合作及青年作曲家培养等方式，努力打造既留得下、传得开、又能实现国际化传播的中国原创精品；在组织维度上，坚持政治引领与尊重艺术规律相结合，发挥党建工作把握方向、凝聚共识、促进职业化建设的关键作用。三大维度的协同实践，正推动中国交响乐事业实现从规模增长向有效益、可持续、高质量发展的深刻转型。
关键词：交响乐团；运营机制；委约创作；艺术组织管理
作者简介：王帅（1992—），女，哈尔滨音乐学院艺术学系硕士研究生，哈尔滨音乐厅（哈尔滨交响乐团）演出项目与行政管理（哈尔滨150028）。
Pathways to High-Quality Development of Symphony Orchestras of China in the New Era
Wang Shuai
Abstract： Against the backdrop of the strategy for building a culturally strong nation in the new era， symphony orchestras of China are actively exploring pathways for transformation from expansion to qualitative development. Drawing on primary data from the 2025 Annual Conference of the Symphony Orchestra Alliance of the China Musicians Association and employing a multi-case comparative analysis method， this study systematically reviews the outcomes of the conference discussions and synthesizes the current pathways to high-quality development into three core dimensions： “economic， artistic， and organizational.” On the economic dimension， orchestras are enhancing their internal drivers for sustainable development by introducing innovations to operational mechanisms. On the artistic dimension， through joint commissioning， cross-sector collaboration， and the cultivation of young composers， they strive to create original Chinese masterpieces that possess lasting value， wide dissemination， and international outreach. On the organizational dimension， by adhering to political guidance while respecting the laws of artistic practice， Party building is leveraged to play a critical role in steering direction， building consensus， and advancing professionalization. The synergistic practice of these three dimensions is driving a profound shift in China’s symphony sector — from quantitative growth toward profitable， sustainable， and high-quality development.
Key words： Symphony orchestras； Operational mechanisms； Commissioned composition； Arts organization management
