《中国音乐》（双月刊）2024年第6期（总第190期）目次

述评与书评

Book Reviews and Commentaries

5／张振涛／重塑中国乐谱学视域——《中国音乐大典·乐谱编》序

Zhang Zhentao／Reshaping the Perspective of Chinese Music Notation — Preface to Chinese Music Classics  Compilation of Scores

摘 要：20世纪中国音乐取得的巨大成就与百年间的巨量记谱和整理出版不无关系。《阿炳曲集》、五大“集成”、《琴曲集成》，均可视为划时代的大事，它们是中国音乐的压舱石，也是中国音乐走进现代的标志性文本。从木卡姆、南音、西安鼓乐、冀中笙管等传统乐种的记谱与刊印个案，不难看到观念转变。“集成”时代，工尺不收，律吕不入；“大典”时代，抄本尽录，典籍尽藏。收录传统乐谱的编辑主旨是对百年间不但无视其存在且无视其价值的状况的最大矫正。当前音乐界的出版文本，多采用工尺谱、减字谱与五线谱、简谱对照样式，呈现出音乐学的新追求。古今交汇，中西融通，既合乎历史延续，也符合世界视野，为乐谱学提供了新样本。《中国音乐大典·乐谱编》必将成为一部具有重要参考价值的工具书。

关键词：《中国音乐大典·乐谱编》；乐谱学；记谱；谱式

Abstract: The significant achievements in Chinese music in the 20th century are closely related to the vast amount of music notation and compilation published over the century. Collections like Ah Bing's Compositions, the five major "Anthologies", and the Collection of Qin Music can be regarded as epoch-making milestones. They serve as both the cornerstone and the symbolic texts representing the transition of Chinese music into modernity. Through the notation and publication of traditional music genres such as Muqam, Nanyin, Xi'an Drum Music, and Jizhong Sheng (a type of reed-pipe instrument) music, it's evident that there has been a shift in conceptual thinking. During the era of the "Anthologies", the Gongche notation was excluded, and the Chinese pitch system was omitted; whereas in the era of "Classics", all manuscripts were recorded, and all canonical texts were stored. The editorial aim of including traditional scores in these compilations is to correct a century-long neglect of their existence and value. Current publications in the music field often juxtapose Gongche notation, Jianzi notation with Western staff notation, and Jianpu (simplified) notation, reflecting the new pursuits in musicology. As the ancient meets the contemporary and Chinese traditions blend with Western ideas, it aligns with historical continuity and the global perspective, offering new samples for the study of music notation. Chinese Music Classics  Compilation of Scores is destined to become an invaluable reference tool.

Keywords: Chinese Music Classics  Compilation of Scores; Music Notation Study; Notation; Notation Styles

16／萧 梅／曾稽旧谱——《中国音乐大典·乐谱编》工作忆序

Xiao Mei／Reflecting on Past Records — Preface to the Works of Chinese Music Classics   Compilation of Scores

摘 要：乐谱是活生生的音乐留下的刻写之迹。无论是为了再现和记忆，还是为了传播和传承，其对应声音的符号都凝聚着“局内人”的行乐方式与作乐思维。虽然面对历史，民间乐谱的“创建者”（creator）并没有创作、演奏和研究的角色分工，而是出自弹奏实践的能“乐”者自身辑纂和传谱；那么，作为现代学术框架中的音乐学子，当我们将中国音乐的曲谱收集、整理、翻译视为“整理国故”的要务时，获得的实际上是一次走进历史、身入传承的机会。可以说《中国音乐大典·乐谱编》，是基于20世纪前辈音乐学研究者对中国音乐资料收集、记录、整理与研究基础上的再次作业。作为主编之一，本人以工作回顾的方式一方面介绍“乐谱编”的特色，另一方面，分享工作团队在这一短暂工作历程中的状况、思考和收获。

关键词：《中国音乐大典》；“乐谱编”；版本提要；学术性提要；乐谱提要；DC标准；著录元数据

Abstract: Scores are the etched traces left behind by the living essence of music. Whether for reproduction and memory, or for dissemination and inheritance, the symbols corresponding to the sound encapsulate the musical methodologies and thoughts of the "insiders". In history, the "creators" of folk music scores did not distinctively serve the roles of composer, performer, and researcher. Instead, they were adept musicians who compiled and passed down these scores from their practical playing experiences. Hence, as music scholars within the modern academic framework, when we treat the collection, organization, and translation of Chinese music scores as the vital task of "organizing the national heritage", what we are truly seizing is an opportunity to delve into history and immerse ourselves in this inheritance. The Chinese Music Classics  Compilation of Scores can be described as a reiteration grounded in the foundational work of 20th-century music researchers, who collected, recorded, organized, and studied Chinese music data. As one of the chief editors, I use this retrospective to introduce the unique features of the "Compilation of Scores" and, at the same time, share the team's experiences, reflections, and insights during this brief work journey.

Keywords: Chinese Music Classics; "Compilation of Scores"; Version Summary; Academic Summary; Score Summary; DC Standard; Metadata Entry

25／洛 秦／音乐人类学是否已经迷失了方向？——由麦克莱恩《音乐人类学的开路先锋群英谱》带来的学科争议与警示

Luo Qin／Has Ethnomusicology Lost Its Way? — Scholarly Controversy and Warnings Brought by MacLean's Pioneers in Ethnomusicology

摘 要：文章从三个方面对默文·埃文·麦克莱恩的著作《音乐人类学的开路先锋群英谱》进行了评价，包括麦克莱恩生平及学术成果的介绍、《音乐人类学的开路先锋群英谱》的“妙谈与怪论”、麦克莱恩著作的述评与争议。笔者指出，麦克莱恩的著述向我们提出了一系列需要不断反思和值得觉醒的问题，其“激进”批评言语，却似乎依然是今天的音乐人类学的长鸣警钟。

关键词：默文·埃文·麦克莱恩；音乐人类学；太平洋音乐研究；《音乐人类学的开路先锋群英谱》

Peng Bei／Adorno and Chinese Music — Background, Content, and Perspectives

摘 要：德国著名汉学家卫礼贤在1927年编撰了《中国音乐》一书，它至今仍是德奥音乐学界研究中国音乐的重要论著之一。德国著名批判理论哲学家及音乐哲学家西奥多·W. 阿多诺在1930年曾经为此书撰写了一篇书评。这篇书评不仅记录了阿多诺早期音乐美学思想的一些核心思想，而且是中国音乐在西方接纳史上的一份具有相当学术价值的文献，是一份在国内外学术界都尚未被讨论过的珍贵文本。本文通过深入剖析阿多诺书评的背景、内容及其核心观点，来揭示20世纪上半叶以阿多诺为代表的德国法兰克福地区文化和音乐界对于中国音乐的理解与接纳情况，以及中国音乐对阿多诺早期美学理论形成的影响。此外，还附有这篇书评的全译文以及注释，借此填补阿多诺音乐哲学体系中关于中国音乐研究的文献空白。

关键词： 阿多诺；《中国音乐》；卫礼贤；中国学社；中西方音乐比较

Abstract: The book Chinese Music, edited by renowned German sinologist and translator Richard Wilhelm in 1927, remains a key text in German and Austrian musicological discourse on Chinese music. In 1930, Theodor W. Adorno, one of the most influential figures in Critical Theory and 20th-century music philosophy, published a review of this book. Adorno's review not only encapsulates some of the foundational ideas in his early music aesthetics but also serves as a significant document in the history of Western perceptions of Chinese music. Despite its importance, this review has received little scholarly attention, both domestically and internationally. Through an analysis of the background, content, and key themes of Adorno's review, this paper sheds light on how Chinese music was understood and received by Frankfurt's cultural and musical circles in the early 20th century. Moreover, it highlights the influence of Chinese music on the development of Adorno's early aesthetic theories. The paper includes a full translation of Adorno's review, along with annotations, to address the gap in existing scholarship regarding Chinese music in Adorno's philosophical framework.

Cao Junjun, Zhao Zhian／A Review of New Concepts and Methods in Music Communication Research in the Era of New Media

摘 要：鉴于新媒体时代文化传播的数字化、网络化等特点，本文提出音乐传播研究的新观念，如“方法重于结论、信息重于知识、结构重于内容、相关重于因果”。结合案例，该文具体对五种方法做述评，即“质化—量化”传播模型、“二元交互”方阵、网络音乐民族志、音乐“社交网络分析”，以及音乐文本分析的三重视角，这些方法及其观念有可能促成音乐传播研究的新范式。文末也发出试图以音乐传播切入，推进产学融合、文理交叉，积极解决现实问题的倡议。

关键词：新媒体；音乐传播；研究方法

Abstract: In the context of the digitalization and networking that characterize cultural communication in the new media era, this paper introduces new concepts for music communication research, emphasizing "methods over conclusions, information over knowledge, structure over content, and correlation over causation." Through various case studies, the paper reviews five specific methodologies: the "Qualitative-Quantitative" communication model, the "Binary Interaction" matrix, online music ethnography, music social network analysis, and the threefold perspective of music text analysis. These innovative approaches have the potential to contribute to the development of a new paradigm in music communication research. The paper concludes by advocating for greater integration between production and academia, promoting interdisciplinary collaboration, and encouraging the active engagement with real-world issues through the lens of music communication.

Keywords: New Media; Music Communication; Research Methods

62／杨松权／中国广播民族乐团的海外音乐传播

Yang Songquan／Overseas Music Communication of the China National Radio Orchestra

摘 要：中国广播民族乐团是中华人民共和国成立以来建立的第一批专业的民族管弦乐团之一，也是中国民乐在海外传播的引领者。其海外音乐传播方式主要可以分为外事活动、音乐会、现代大众传媒三种。海外传播得以成功的原因主要有海外华人的文化认同，中西融合、更具普适性的现代民族管弦乐队建制，西方交响性与民族个性兼具的创作模式，因地制宜、因人制宜的海外传播策略四个方面。作为中国民乐海外传播的成功个案，中国广播民族乐团为中国音乐走向世界开拓了具有中国特色的海外传播之路。

关键词：中国广播民族乐团；海外传播；彭修文；中西融合；文化认同；因地制宜；定向传播

Abstract: The China National Radio Orchestra, one of the first professional national orchestras established in the early years of New China, has played a pioneering role in the global dissemination of Chinese folk music. The primary methods of overseas music communication include diplomatic activities, concerts, and the use of modern mass media. The orchestra's success in overseas communication can be attributed to four key factors: the strong cultural identity of overseas Chinese communities; the integration of Chinese and Western musical traditions, facilitated by the more universalized structure of the modern national orchestra; the blending of Western symphonic creation techniques with distinctive Chinese musical elements; and a strategic, adaptive approach to overseas communication, tailored to local contexts and individual audience needs. As a model of effective international dissemination of Chinese folk music, the China National Radio Orchestra has paved a unique path, demonstrating the global resonance of Chinese music in its fusion with Western cultural frameworks.

Keywords: China National Radio Orchestra; Overseas Communication; Peng Xiuwen; Chinese-Western Cultural Integration; Cultural Identity; Contextual Adaptation; Targeted Communication

71／刘桂腾／从“那里”到“这里”——《排瑶“歌堂”仪式音声阐释民族志》笔记

Liu Guiteng／From "There" to "Here" — Notes on An Interpretive Ethnography of Sound in the Pai Yao "Song Hall" Ritual

摘 要：周凯模新著《排瑶“歌堂”仪式音声阐释民族志》，以渐层递进融汇为路径的“跨学科性”策略设计、立足于田野实证塔基之上的“再阐释”，贡献了一个富含理论范式拓展意义的阐释民族志范例。这种可持续性的后现代之思，是继承下的跃升而非断代式的颠覆。从现代到后现代的进阶，颇具因应中国民族志本土应用场景之需的理论价值与实践意义。民族志等式中的“那里”与“这里”犹如大陆（田野）与半岛（书斋），我们终其一生的劳作与奋斗，也许就是开凿一条穿越地峡的音乐民族志运河。

关键词：民族志；范式；跨学科性；实证；阐释；应用场景

Abstract: Zhou Kaimo's recent work, An Interpretive Ethnography of Sound in the Pai Yao "Song Hall" Ritual, offers an exemplary interpretive ethnography rich in theoretical paradigm expansion. By employing a cross-disciplinary strategic design that progressively integrates multiple layers, and by providing a "reinterpretation" grounded in solid empirical fieldwork, the work significantly contributes to the field. This kind of sustainable postmodern thinking represents a leap forward built upon inheritance rather than a disruptive overthrow. The progression from modern to postmodern holds considerable theoretical value and practical significance in addressing the needs of indigenous application contexts in Chinese ethnography. The "there" and "here" in the ethnographic equation are akin to the continent (fieldwork) and the peninsula (study); perhaps our lifelong labor and endeavor is to carve out a musical ethnographic canal that cuts through the isthmus.

Keywords: Ethnography; Paradigm; Cross-Disciplinarity; Empiricism; Interpretation; Application Contexts

77／郑长铃 林淑娟／三秦多厚重 斯人更传情——乔建中与音乐学统传承要义

Zheng Changling, Lin Shujuan／The Profound Depth of the San Qin The Master Further Conveys Emotion — Qiao Jianzhong and Essence of the Musicology Scholarly Orthodoxy of Inheritance

摘 要：乔建中先生在中国音乐学术旅途中传递出的生命、文化之“情”，包含三层含义，关涉个体之于人文事象的感知力、判断力、阐释力，是文化研究者之思想创造的关键源动力。借由此，一方面点明音研所之学术传统是立基于中国文化之坚实土壤之上的学统、道统的时代表达和历史延续；另一方面厘清“情”与学术研究、学统承继之间的内在关系理路。

关键词：乔建中；“情”；思想创造；学统；音研所

Abstract: This study delves into Mr. Qiao Jianzhong's scholarly contributions to Chinese musicology, particularly his transmission of the essence of life and culture through the concept of "emotion." Qiao's notion of "emotion" comprises three dimensions: perceptual awareness, evaluative judgment, and interpretive insight into humanistic phenomena. These dimensions collectively drive intellectual creativity among cultural researchers. The paper underscores how the academic tradition of the Institute of Music Research at the Chinese National Academy of Arts is deeply embedded in Chinese cultural heritage, embodying both the continuity of scholarly orthodoxy and Confucian intellectual traditions. Furthermore, it elucidates the intrinsic connection between "emotion," academic inquiry, and the perpetuation of these traditions within musicological scholarship.

摘 要：在民族音乐学的学科发展史上，音乐学与人类学构成了其学术谱系中最重要的理论源泉，而民俗学对于民族音乐学发展的重要贡献，却被严重地忽视与低估了。从民俗学的学科立场出发，评述民间音乐研究范式的变迁史，分析其问题意识的发展序列，即从浪漫主义到启蒙主义，从以文本为中心到以表演为中心，从表演的民族志到表演民族志，从表演的政治学到表演的伦理学，可以为民族音乐学史的主流叙事提供一种基于不同学科立场的另类叙事。这种另类叙事，既补充了主流叙事可能遗漏的重要信息，又提供了某些可资参考的理论工具与问题意识。

关键词：民族音乐学；民间音乐；语境；表演

Abstract: In the historical development of ethnomusicology, musicology and anthropology have traditionally been regarded as the primary theoretical foundations of the field. However, the significant contributions of folkloristics to the growth of ethnomusicology have often been underappreciated and overlooked. This article adopts a folkloristic perspective to reexamine the evolution of folk music research paradigms. It traces the progression of problem awareness within the field, from romanticism to enlightenment, from text-centered approaches to performance-centered ones, and from performance ethnography to the ethics and politics of performance. By offering an alternative disciplinary narrative, this study provides a complementary perspective to the mainstream historical account of ethnomusicology. This alternative narrative not only fills gaps that may be overlooked by conventional narratives but also introduces theoretical tools and conceptual frameworks that enrich the understanding of ethnomusicological discourse.

Keywords: Ethnomusicology; Folk Music; Contextual Analysis; Performance

98／肖 璇／多学科视野中的音乐情感与情动（affect）研究

Xiao Xuan／The Study of Music Emotion and Affect from an Interdisciplinary Perspective

摘 要：如果将音乐情感置于广阔的人类普遍情感考察之下，该论题往往充满着集体和个体情感、音乐模仿和情感唤起、情感生物和文化建构讨论的此消彼长。21世纪初，西方民族音乐学学者在人文社会科学情动理论影响下产生了音乐情感这一旧话题的新热情，他们或沿着社会文化建构路径探索音乐情感描写的新可能，或对情动理论影响下的学科概念和方法创新保持觉察和警醒，也因此生发出对新东方主义、根茎思维和自我民族志等的实验和反思性研究。

关键词：音乐情感；情动转向；音乐情动；民族音乐学；两性对歌

Abstract: When examining musical emotion within the broader context of universal human emotions, the subject encompasses a range of dimensions, including collective and individual emotional experiences, musical imitation, emotional arousal, and the interplay between emotional biology and cultural construction. At the turn of the 21st century, Western ethnomusicologists, influenced by emotion theory from the humanities and social sciences, renewed their interest in this long-standing topic. Researchers have either pursued new avenues for describing music emotion through the lens of social and cultural construction or have critically reflected on the innovations in disciplinary concepts and methodologies prompted by emotion theory. This interdisciplinary approach has also fueled experimental and reflective studies, integrating perspectives from New Orientalism, Rhizomatic thinking, and autoethnography.

Keywords: Musical Emotion; Affective Turn; Music and Emotion; Ethnomusicology; Gender Duet

107／张 凡／为色拉西记谱的历史与分析

Zhang Fan／The History and Analysis of Notation for Serashi

摘 要：记谱，一直是传统音乐研究的核心问题之一。据文献记载，为色拉西潮尔艺术记谱的历史已近90年，尤其是1949年后，在录音和唱片等音响档案基础上，杨荫浏、黄翔鹏等几代音乐学者、作曲家、演奏家、教育家从不同角度，用不同方式进行了该项工作。本文梳理、回顾、分析这些属于中国少数民族器乐艺术论域的重要成果，一方面展现出人们对于蒙古族弓弦潮尔艺术特征理解的变迁，另一方面，作为一个特殊的个案，也体现出中国音乐学术理念发展的轨迹。

关键词：色拉西；潮尔；记谱；音乐表演

Abstract: The study of musical notation has long been a central issue in traditional music research. According to historical sources, the notation of Serashi choir music has a history spanning nearly ninety years. Particularly after the founding of New China, scholars such as Yang Yinliu and Huang Xiangpeng, along with composers, performers, and educators, have made significant contributions to this work through the use of sound archives like recordings and albums. These efforts, approached from various perspectives, have contributed to preserving and developing Serashi choir music. This article provides a comprehensive summary and analysis of the key achievements in the study of Chinese ethnic instrumental music. It not only traces the evolution of understanding regarding the artistic characteristics of the Mongolian bowstring choir but also reflects the broader development of academic concepts in musicology through this case study.

Abstract: One of the central research topics in traditional Qupai studies is the identification and confirmation of the defining elements of Qupai. Historically, Gelv has been widely recognized as a foundational concept; however, its practical application and the dissemination of related melodies often raise questions. Taking "JiangTou JinGui" as an example, this southern JiQu melody appears across nine operas in three distinct vocal systems, with more than 30 identifiable fragments still in use. Conventional musical analysis struggles to identify these fragments as deriving from the same Qupai, making it difficult to categorize them as "different songs with the same name". This paper aims to examine the name, image, and expression of "JiangTou JinGui" by analyzing the similarities and differences among these fragments. It explores the implicit practices by Qupai holders and investigates the rationale for identifying these fragments as part of the same Qupai. Additionally, the paper traces the origins of its usage and discusses broader issues, such as the "cognitive perspective of Qupai" and the "role of music in Qupai performance".

摘 要：音乐再生产是新疆豫剧广受认可与追捧的本质核心。新疆豫剧通过对河南豫剧唱腔旋律和伴奏技法的赓续、调适以及与少数民族音乐的融合，呈现出新疆豫剧音乐格局形成的再生产路径样态。在豫剧音乐再生产过程中，新疆豫剧音乐维持着戏曲主流价值艺术形态与少数民族音乐文化之间的双向动态平衡，在铸牢中华民族共同体意识的核心形态下塑造关系稳固的音乐文化形象。

关键词：新疆豫剧；音乐文化格局；音乐再生产

Abstract: The reproduction of Henan Opera music constitutes the core of its widespread recognition and appreciation in Xinjiang. By continuing and adapting the vocal melodies and accompaniment techniques of traditional Henan Opera, while integrating elements of ethnic minority music, Xinjiang Henan Opera has developed a distinctive musical reproduction pathway. This pathway reflects a dynamic interaction between the established music patterns of Henan Opera and the local musical cultures of Xinjiang. Throughout this process, Xinjiang Henan Opera has maintained a balanced duality, preserving both the mainstream values of traditional Chinese opera and the rich musical heritage of ethnic minorities. Ultimately, this fusion shapes a cohesive and stable musical-cultural identity, reinforcing the central goal of fostering a unified Chinese national consciousness.

Keywords: Xinjiang Henan Opera; Music Culture Patterns; Musical Reproduction

137／范洋洋／广西壮族八音坐唱表演中的性别表征与隐喻——以隆林扁牙上社八音班为例

Fan Yangyang／Gender Representation and Metaphor in the Bayin Zuochang Performance of the Zhuang Ethnic Group in Guangxi — A Study of the Longlin Bianya Shangshe Bayin Class

摘 要：社会性别（gender）是相对于生物性别（sex）而言的社会属性概念，是指男性或女性在社会化过程中所获取的性别身份，而这种被建构的社会性别身份又重造着社会中男性或女性的群体特征、行为方式等层面。本文以广西隆林各族自治县的壮族八音坐唱[boux yaix nangh ndangl beetd yinggl]为研究对象，从社会性别的视域来探究作为仪式音乐的壮族八音坐唱，阐述壮族八音坐唱表演中不同性别的角色分工、仪式与性别的关系、音乐与性别的象征内涵及不同的性别角色在表演中的音乐行为与功能,并进一步探讨壮族八音坐唱仪式表演性别关系背后“圆”[nduen]的深层次逻辑与社会意义。

关键词：壮族八音坐唱；社会性别；仪式表演；性别分工；性别隐喻

Abstract: Gender, as distinct from biological sex, is a social construct that reflects the roles and identities acquired by individuals through socialization processes. This socially constructed gender identity shapes group characteristics, behavior patterns, and other societal attributes associated with males and females. This article investigates the Bayin Zuochang, a ritual music performance of the Zhuang ethnic group in Longlin County, Guangxi, through the lens of gender. It explores the role division based on gender within the performance, the interplay between ritual and gender, and the symbolic representation of gender in the music. The study also analyzes the musical behavior and functions attributed to different gender roles within the performance. By doing so, this research aims to uncover the deeper logic and social significance behind the concept of "harmony" that governs gender relations in the Bayin Zuochang of the Zhuang ethnic group.

Keywords:  Bayin Zuochang of the Zhuang Ethnic Group; Gender; Ritual Performance; Gender Division of Labor; Gender Metaphor

古代音乐史与近现代音乐

Ancient Music History and Modern Music History

148／胡雅静／武王伐纣“前歌后舞”新解

Hu Yajing／A New Interpretation of "Qian Ge Hou Wu" in King Wu's Conquest of Zhou

摘 要：现存史料中，对西周初年礼乐情况的记载较少，《尚书大传》所记武王伐纣“前歌后舞”正是其中之一。不过，从清代至今，学者对此段文字颇有争议，或将其视为即将伐纣欢乐鼓舞气氛的描述，或视为“歌舞以凌”的巴渝之舞，或认为此乃美化周武王灭商功绩的夸誉之辞。《尚书大传》文辞简略，却蕴含丰富。结合相关文献可证，武王伐纣“前歌后舞”实属战后凯旋还师典礼中的军礼用乐。对“前歌后舞”的深入分析，有助于我们进一步了解殷周变革之际，礼乐文化对政治、军事的重要作用。

关键词：“前歌后舞”；军礼用乐；武王伐纣；《尚书大传》

Abstract: Historical records on the Li (ritual) and Yue (music) practices during the early Western Zhou period are sparse. One such account is the "Qian Ge Hou Wu" from Shang Shu Da Zhuan, which describes King Wu's conquest of Zhou. From the Qing Dynasty to the present, scholars have debated the meaning of this passage—whether it depicts an atmosphere of joy and encouragement, represents the Bayu dance of "oath-breaking song and dance," or serves as rhetorical praise for King Wu's defeat of the Shang Dynasty. Though the record in Shang Shu Da Zhuan is brief, it carries rich connotations. By examining related documents, this study argues that "Qian Ge Hou Wu" was actually a form of military music used in ceremonial celebrations following victorious campaigns. A deeper analysis of this piece sheds light on the significant role that Li and Yue culture played in the political and military spheres during the Yin-Zhou transition.

Keywords: "Qian Ge Hou Wu"; Military Rites Music; King Wu's Conquest of Zhou; Shang Shu Da Zhuan

156／李泉呈／唐代赐乐制度考

Li Quancheng／An Examination of the System of Granting Music in the Tang Dynasty

摘 要：赐乐制度是在礼乐背景下产生的一种用于奖赠的制度，赏赐内容早期以雅乐为主，后期则变得更为丰富，鼓吹、女乐等均成为赐乐内容。赐乐制度常突破等级用乐的规定性，逾制赐给有功臣子，使之能够越级使用高规格的用乐。赐乐现象始于周代，发展于汉魏六朝，完善于唐，在严密的礼乐系统中发挥着不可替代的作用。唐代赐乐形成了“鼓吹乐—女乐—教坊乐”的给赐格局，通过规范鼓吹乐与女乐的使用制度，赋予了礼制意义，并由此形成唐代赐乐的制度化体系。

关键词：赐乐制度；鼓吹乐；女乐；礼制

Abstract: The system of granting music emerged as a mechanism within the broader framework of ritual music. Initially, the music granted was primarily composed of elegant court music, but over time it diversified to include Guchui music and Nvyue music. This system often circumvented the strict hierarchical regulations governing music, allowing high-ranking music to be bestowed upon meritorious officials and subjects, enabling them to experience music that exceeded their social rank. The practice of granting music can be traced back to the Zhou Dynasty, evolved throughout the Han, Wei, and Six Dynasties, and reached full maturity during the Tang Dynasty. It played a critical role in the highly regulated system of rites and music. During the Tang period, the system of granting music became more formalized, incorporating standardized patterns for granting Guchui music, Nvyue music, and music from the imperial music bureau. This formalization endowed Guchui and Nvyue music with significant ritual meaning, ultimately institutionalizing the system of granting music in the Tang Dynasty.

Keywords: System of Granting Music; Guchui Music; Nvyue Music; Ritual Music

164／邢志颖／《玉堂琴谱》版本及曲目研究

Xing Zhiying／A Study of the Editions and Songs Record of the GyokudouKinfu

摘 要：《玉堂琴谱》是由日本江户琴士浦上玉堂编纂、成书于日本江户时代宽政元年（1789）的一本古琴琴谱。它以宽政三年（1791）翻刻版为流通本，宽政元年初镌版因部分版元的丢失而未能出版发行。日本国立国会图书馆藏本为善本，冈山县立图书馆藏本有“错简”现象。日本国立国会图书馆藏本中的批注内容以筝谱为主，骨干音与《仁智要录》所载曲谱旋律基本相同，可为深入研究《玉堂琴谱》中的音乐成分与唐乐之间的联系提供重要参考。《玉堂琴谱》的琴曲是浦上玉堂参考《三五要录》与《仁智要录》的同名催马乐曲调并经过田野调查后再创作的曲目，它借鉴并传承了中日两国琴谱的记谱方式，记谱节奏以方格谱的形式表示，一个方格谱代表一拍，并用多谱字并于一格的方式，来显示节奏的变化。“、”与“。”是催马乐曲谱节奏的演变形式，在演奏上代表的节奏意义有限，主要帮我们理解乐句节点。

关键词：《玉堂琴谱》；浦上玉堂；古琴；古谱；催马乐

Abstract: Gyokudoukinfu is an early musical score compiled by Japanese scholar Uragami Gyokudou in the first year of the Kansei era (1789). This score, a circulating edition based on a reprint from the third year of the Kansei era, reflects significant historical and musicological insights. The original edition from the first year of Kansei was never fully published or distributed due to the loss of key editorial elements. While the collections of the National Diet Library of Japan preserve a well-preserved version, other collections, such as that of the Okayama Prefectural Library, exhibit page misalignments. Annotations in the National Diet Library's collection focus mainly on zither notation, and the backbone notes closely resemble the melodies found in Renzhi Yaolu. This provides valuable references for further exploring the relationship between the musical structures in Gyokudoukinfu and ancient Tang dynasty music. Uragami Gyokudou composed Gyokudoukinfu by referencing Sanwu Yaolu and Renzhi Yaolu and through extensive field research. The work draws heavily from and inherits both Chinese and Japanese Qin notation methods. The rhythm in Gyokudoukinfu is depicted using grid notation, where each grid corresponds to one beat, and rhythmic variations are represented through the combination of multiple characters within each grid. The symbols "、" and "。" represent minor rhythmic cues, derived from the notation of Saibara songs, offering limited rhythmic significance but aiding in the interpretation of musical phrase structures.

Keywords: Gyokudoukinfu; Uragami Gyokudou; Guqin; Palaeo Spectrum; Saibara

作曲理论与作品分析

Composition Theory and Work Analysis

173／权洪波／权吉浩钢琴作品中的民族意蕴与表现手法探微

Quan Hongbo／An Exploration of National Implication and Expression Technique in Quan Jihao's Piano Works

摘 要：40多年来，我国著名朝鲜族作曲家权吉浩创作的钢琴组曲《长短的组合》在专业领域广获好评,《雅之声——琴韵》之创新性理念，亦倍受关注，第一钢琴协奏曲《乐戏》《对戏》《入戏》《盘索里印象》等作品，以其独特的创作风格及个性化音乐语汇，受到广泛认可。本文将从权吉浩钢琴音乐的民族意蕴探索过程、权吉浩钢琴音乐的民族意蕴表达方式、权吉浩的创作理念等方面来表述作曲家探寻传统、坚守个性的民族意蕴之表现手法。

关键词：权吉浩；钢琴作品；民族意蕴；表现手法

Abstract: For more than 40 years, the piano suite Long and Short composed by the famous Korean composer Quan Jihao has been widely praised in the professional field. The innovative idea of Capriccio — Qin has also attracted much attention. Additionally, compositions such as the first piano concerto Chinese Theatre Art, Song and Dance Duet, Lost in Chinese Opera, and Pansori Impressions, with their unique creative style and personalized musical language, are widely recognized. This article will start from "the process of exploring the ethnic music connotation of Quan Jihao's piano music" and "the expression of the national meaning of Quan Jihao's piano music." It will delve into the new thoughts on melody writing, the colorful refinement of second intervals with embellishment, the use of percussion instruments as fixed textures, the expression of piano timbres that imitate Chinese qin music, and Quan Jihao's compositional concepts, to elucidate the composer's approach to integrating ethnic music connotations with a commitment to both tradition and individuality.

Keywords: Quan Jihao; Piano Compositions; Connotation of Ethnic Music; Technique of Expression

180／林桢邦／《蜀道难》音色—音响在音乐结构中的设计与组织探赜

Lin Zhenbang／An Exploration of the Design and Organization of Timbre and Sonority in the Musical Structure of Shu Dao Nan

摘 要：郭文景的《蜀道难》的整体结构呈现出复合性的独特样态，而音色—音响表现与结构之间则是一种共生、偕行、相互影响的关系。作品音色—音响总体布局由多重原则交织而成，以跌宕起伏为首要特征。乐曲通过织体形态、音色选择、音腔元素、结构对位方面的设计，进行主题的音色—音响塑造；通过转折、对置等多样化的配置方案和分层、增长式的安排，处理特定结构功能段落的音色—音响；基于中国特色的结构思维，引入唱腔—帮腔—乐队形式、传统音乐时值布局、汉语语势等中国音乐形式、结构及音声元素，展现音色—音响与多条线索相生相适、时有冲突的进程。

关键词：郭文景；《蜀道难》；音色—音响的设计和组织；中国特色结构思维；唱腔—帮腔—乐队形式；语势；民族化与个性特征

Abstract: The overall structure of Guo Wenjing's Shu Dao Nan presents a distinctive and intricate pattern, where the relationship between timbre, sound expression, and structure is symbiotic, evolving synchronically, and mutually influencing. The orchestration and sound system are shaped by multiple principles, with dynamic fluctuations as a defining feature. The composition's thematic timbres and sounds are shaped through the interplay of texture, timbre selection, phonemic elements, and structural counterpoint. Guo's use of diverse orchestration techniques — such as abrupt transitions, contrasts, layering, and cumulative arrangements —serves to process timbre and sound in sections with specific structural functions. Drawing on Chinese music's structural thinking, this paper examines the integration of Chinese musical forms, structures, and sonic elements, such as singing roles, vocal accompaniment, orchestration formats, duration layouts in traditional music, and Chinese pronunciation trends. These elements showcase the interaction of timbre and sound, which alternates between harmony and conflict, demonstrating the indigenous and personalized characteristics of Guo Wenjing's compositional style.

摘 要：本文以布列兹作品《信息》《漂移I》《切口》为分析对象，以萨赫尔音名主题为基点，从布列兹作品中音名主题的“同一性”探索三部作品的个性化表达，从各音乐要素的发展路径以探寻结构逻辑的“连续性”。三部作品音高组织均以萨赫尔音名主题为基础，将序列与集合思维融合，以此生成音乐的发展，从微观设计到宏观布局无不体现了作曲家高超的作曲技法以及与数理思维兼并的精妙布控能力。

关键词：布列兹；《信息》；《漂移I》；《切口》；同一性；连续性

Abstract: This paper examines three of Boulez's late works: Messagesquisse, Dérive I, and Incises, focusing on the thematic use of the phonetic spelling of Sacher's name. The analysis explores the personalized expression of this name theme, highlighting its "identity" within the works and investigating the "continuity" of Boulez's structural logic across the compositions. The pitch organization in these pieces is grounded in the Sacher theme, utilizing serialism and set theory to drive musical development. From micro-level design to macro-level structure, Boulez's intricate compositional techniques and his mathematical approach to form demonstrate his mastery of musical organization and thematic coherence.

Keywords: Boulez; Messagesquisse; Dérive I; Incises; Identity; Continuity

来源：《中国音乐》编辑部

文字：《中国音乐》编辑部办公室

制作：陈旭

由北京市教育委员会主管

中国音乐学院主办

中文社会科学引文索引（CSSCI）来源期刊

全国中文（音乐类）核心期刊

“中国人文社会科学综合评价 AMI”核心期刊

“复印报刊资料”重要转载来源期刊

RCCSE中国核心学术期刊（A）