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《北方音乐》2023年第2期(改版总第6期)目录与摘要概览

作者: 时间: 2023年04月06日 10:25 点击数:




宣传贯彻党的二十大精神笔会专栏


坚持立德树人  办人民满意高等音乐教育      关   

凸显自身办学特色  呼应国家文化战略      杨燕迪

坚持人才培养现代化  助力实现中国式现代化      刘东兴

坚持人民至上  谱写时代篇章         

中国式现代化释读         

国乐传承红色经典  思政谱写时代乐章         

把握教育改革关键点  推进高等音乐教育高质量发展      马晓春

以党的二十大精神为指引  开创哈音研究生教育新局面         

坚持研创演协同发展  奋进文艺辉煌新时代      崔剑峰

学习党的二十大精神  推动学院国际交流合作         

 

 

俄罗斯音乐研究

拉赫玛尼诺夫音乐中的钟声意象

——谨以此文纪念拉赫玛尼诺夫诞辰150周年

孙兆润

 要:相比19世纪许多俄罗斯作曲家,谢尔盖·拉赫玛尼诺夫对钟声入乐的迷恋更为强烈,这源于作曲家幼年和少年时期作为钟乐权威鉴赏家的祖母的引领和对教堂钟声深刻的赏听体验以及对祖国深沉的爱恋。拉赫玛尼诺夫音乐中的钟声意象已经被俄罗斯学者广泛关注并认知。文章主旨不在于对其音乐中的钟声意象进行全面深入的技术分析,旨在以管窥豹,提示诠释者和研究者能在教学、演出实践和学术活动中关注拉赫玛尼诺夫音乐中显性或者隐匿在谱面下的这一重大的意象特征。

关键词:拉赫玛尼诺夫;音乐;钟声意象

作者简介:孙兆润(1972— ),男,音乐艺术博士,beat365体育亚洲官方网站副教授(哈尔滨 150028)。

 

The Bell Imagination in Rachmaninoff’s Music A Memorial for the 150th Anniversary of Rachmaninoff’s Birth

Sun Zhaorun

Abstract The fascination of the bell sound in Sergei Rachmaninoff’s music is much stronger than the other Russian composers in19th century. This phenomenon not only influenced by his grandmother who as an authoritative connoisseur of bell music during his childhood and adolescencebut also his profound listening experience of the church bells and the deep love of motherland. The Bell Imagination in Rachmaninoff’s music has been widely noticed and recognized by Russian scholars. The main purpose of this article is not to provide a comprehensive technical analysis of the Bell Imagination in his musicbut to suggest that performers and researchers to pay attention on this significant imaginative feature which either explicit or indirect in the score in their teachingperformance practice and research.

Key words Sergei RachmaninoffmusicBell Imagination

 

 

论穆索尔斯基对新调性技术的探索及其调式风格化表现特征

王玉聪

 要:就俄罗斯作曲家穆索尔斯基所处的时代而言,他的和声语言是新颖的,有些技法甚至是超前的,其中,以调式调性方面的运用特点最为显著。文章阐述穆索尔斯基的创作中,在固守调性因素的前提下,所使用的一些新的调性写作方式为研究对象,重点对作曲家在泛自然音主义、持续音性调性、双调性等三种写作技法的实践探索,以及这些技法在运用过程中表现出来的调式风格化特征进行了较为细致且深入地分析和研究。这对于合理地解读和传播作曲家及其作品具有重要的辅助作用,并对我国当代民族调式风格的音乐创作有一定的借鉴价值。

关键词:穆索尔斯基;泛自然音主义;持续音性调性;双调性;调式风格化

作者简介:王玉聪(1983— ),男,艺术学博士,星海音乐学院音乐基础部作曲技术理论讲师(广州 510006)。

 

Mussorgsky’s Exploration of New Modality Technique and its Stylized Expression of Modal Characteristics

Wang Yucong

Abstract The harmony language of the Russian composer Mussorgsky can be seen as innovative in the context of his periodeven some of his technique was aheadwhat prominent in the application of the skill on modes and tonality. Based on the research of Mussorgsky’s use of novel tonality technique which he maintained in the tonal tonalityand which especially focus on the practice of pan-naturalismpedal-point tonalitybitonality and the other three techniquesthe article analysis the stylization of the tonal characteristics emerged which upon his new technique in his works.

Key words Mussorgskypan-naturalismpedal-point tonalitbitonalitystylization of modes

 

 

曾经的辉煌:一部有价值的寓沪俄罗斯流亡音乐家活动的专著

宫宏宇

 要:美国夏威夷大学出版社在20209月出版的《俄罗斯离散人口的社群关系网络:战时上海的俄罗斯音乐家及其音乐活动》(Networking the Russian Diaspora Russian Musicians and Musical Activities in Interwar Shanghai),该书以两次世界大战期间流落到上海的俄国音乐家为焦点,利用中、俄、英等多种语言档案、报刊资料、音乐会节目单及近期国内外有关研究,详述了战时俄罗斯流亡音乐家在上海的音乐活动,及其对上海音乐生活的影响。该书详细地展示了这些流亡音乐家为自己的社团所做的工作,揭示了他们如何利用音乐与其他国际侨民社团及上海华人社团建立关系网络,凸显了寓沪俄罗斯流亡音乐家对近代中国音乐发展不可磨灭的重大及深远的影响。

关键词:俄罗斯离散人口;工部局乐队;上海音专;齐尔品;阿甫夏洛穆夫

作者简介:宫宏宇(1963— ),男,哲学博士,华中师范大学音乐学院高端外国专家项目首席研究员,新西兰国立理工学院(Te Pūkenga)研究员(武汉 430079)。

 

Networking the Russian Diaspora: Russian Musicians and Musical Activities in Interwar Shanghai——A Review Article

Gong Hong-yu

Abstract Co-authored by Chinese music specialistsNetworking the Russian Diaspora not only provides a timely study of Russian émigrés and their musical activities in interwar Shanghai but also makes a significant contribution to studies of diasporacultural identityand migration. By focusing on Russian musicians who were the core of Shanghai’s Municipal Orchestra and Russian teachers who taught at China’s first conservatory it also gives insight into Sino-Russian cultural relations and Russian influence in modern China.

Key words Russian DiasporaMunicipal OrchestraShanghai Conservatory of MusicTcherepninAvshalomov

 

 

作曲技术理论研究

音乐音响-空间的初级听知觉表征

   

 要:文章以音乐音响-空间的理论与实践研究为研究对象,探索20世纪空间转向的历程、基本内涵以及在不同学科的体现。文章结合心理学、认知科学与动能论等理论的启发,从音高系统、节奏系统、织体系统等音乐初级听知觉角度讨论音响-空间的表征形式。

关键词:音乐;音响-空间;初级听知觉;表征

作者简介:刘健(1984— ),女,文学博士,中央音乐学院博士后,浙江师范大学副教授、硕士生导师(浙江金华 321000)。

 

The Primary Auditory-Perceptual Representation of Music’s Acoustic-Spatial

Liu Jian

Abstract Took the theoretical and practical study of music’s Acoustic-Spatial as the research objectthe article explores its spatial turn which happened in the 20th centuryand to discover its historybasic connotationand its manifestation in different disciplines. Inspired by theories of psychologycognitive scienceand kinetic theory the author discusses the representation of acoustic-spatial from the perspective of the primary auditory perception of musicsuch as pitch systemrhythm systemand texture system.

Key words musicacoustic-spatialprimary auditory perceptionrepresentation

 

 

查尔斯·艾夫斯《康科德奏鸣曲》中的主题转换技巧与模糊记忆的创作概念

季星妤,艾米丽·艾布拉姆斯·安萨里

 要:目前国内外学者们对查尔斯·艾夫斯《康科德奏鸣曲》的接受,主要集中在讨论作品中的拼贴手法,以及该作品对相关美国超验主义人物的引用。克里斯托·布鲁恩通过引用威廉·詹姆斯提出的思想流意识的观点,作为分析这部作品的方法论,进一步扩展了对该作品的接受。文章继续沿用着思想流的概念,同时分析《康科德奏鸣曲》中的音乐引用素材和艾夫斯在他的《写在奏鸣曲前》中表达的模糊记忆的概念,指出艾夫斯是如何使用李斯特式的主题转换的技巧,来创造一种模糊的回忆。文章认为通过威廉·詹姆斯的思考的流动性概念和李斯特的主题转换技法,能够为艾夫斯作品中的引用素材和拼贴手法提供更广泛的分析视角。

关键词:艾夫斯;《康科德奏鸣曲》;主题转换;模糊

作者简介:季星妤(1995— ),女,加拿大西安大略大学艺术学硕士;艾米丽·艾布拉姆斯·安萨里(Emily Abrams Ansari1977— ),女,音乐史学博士,加拿大西安大略大学音乐研究副院长、副教授(LondonOntarioCanada N6H 2N7)。

 

Thematic Transformation and Vague Memories in Charles Ives’s Concord Sonata

Ji Xingyu & Emily Abrams Ansari

Abstract Reception of Charles Ives’s Concord Sonata has principally focused on the work’s use of collage techniques and its references to figures associated with American Transcendentalism. Christopher Bruhn has expanded this focus by invoking William James’s idea of “the stream of thought” or “consciousness” as a way of approaching the work. In this paperthe author develop the concept of “the stream of thought” alongside the analysis of musical quotations and Ives’s notion of “vague remembrance” as expressed in his Essays before a Sonata to demonstrate how Ives has adapted the Lisztian technique of thematic transformation to create a sense of ambiguous memory. This paper argues that the “local” analysis of citation and collage in Ives’s work can benefit from a broader formal perspective shaped by the work of William James and Liszt.

Key words IvesConcord Sonatathematic transformationvague

 

 

 

三和弦变换及其结构组织手法

——新里曼理论视域下的舒伯特《降E大调钢琴三重奏》第一乐章探究

   森,贾达群

 要:文章主要探讨新里曼理论对三和弦的分析运用,梳理PLR变换的内涵及其演变过程,简述新里曼与里曼之间的关联。之后运用PLR变换来分析舒伯特《降E大调钢琴三重奏》第一乐章中局部的三和弦现象。文章以科恩提出的三种基本变换模型为参考,在具体分析中结合其他理论之视角与分析技术来梳理作品中三和弦的相互关系。通过将三和弦视作纵向的音高材料,探索它们在全曲中潜在的结构意义,从形本身层面更加客观、深入地认识上述作品中的音乐现象。在整个分析过程中,笔者也尝试进一步拓展、丰富PLR变换在实践中的运用策略。

关键词:新里曼理论;三和弦变换;PLR;连贯性;结构

作者简介:谭森(1998— ),男,上海音乐学院2020级硕士研究生;贾达群(1955— ),男,上海音乐学院作曲系教授(上海 200030)。

 

Triadic Transformations and Its Structural Organization Technique: A Research of the Schubert’s Piano Trio in E-flat Major First Movement in the Context of Neo-Riemannian Theory

Tan SenJia Daqun

Abstract Base on the discussion of the analysis method of Neo-Riemannian Theory on triadsgeneralization of the PLR connotation and its evolutionand the brief introduction of the relationship between and Riemann Theory and Neo-Riemannian Theorythe article analysis the triad phenomenon in the first movement of Schubert’s Piano Trio in E-flat Major with the PLR. Took the three basic transformation models proposed by Cohen as a referencethe author combines other theoretical perspectives and analytical techniques to sort out the interrelationship of triads in the work. By considering the triads as vertical pitch materialsthe article explores their potential structural significance in the whole pieceand as well as from the view of the shape itselfthe article provides a more objective and in-depth understanding of the musical phenomenon in the work. Throughout the analysis processthe author tries to expand and enrich the strategies of PLR transformations in practice.

Key words neo-Riemannian theorytriadic transformationPLRcoherencestructure

 

 

中国音乐史研究

李白音乐批评初探

   

 要:李白诗词可谓是千古名篇,观其文本,绝大多数是从文学层面展开的。而在唐代诗词中,音乐是一个不可或缺的组成部分。文章站在音乐的角度审视这类经典名篇。在李白诗作中遴选出部分诗词,用音乐批评的手法给出初步解析。

关键词:李白;音乐批评;宫中行乐词;听(抚)琴诗;观伎乐诗;乐人品藻诗

作者简介:明言(1962— ),男,文学博士,天津音乐学院音乐学系教授(天津 300171)。

 

A Preliminary Study of Li Bai’s Music Criticism

Ming Yan

Abstract The poems of Li Bai are famous through the ages. The surveys of his poems are mainly from the view of literarybut in fact the poems on music are an essential component in Tang Dynasty’s poems. Based on selecting the poems contained criticism about music from thousands of Li Bai’s worksthe article examines them by means of music criticism theory. The preliminary analysis will open up a new territory for the music criticism.

Key words Li Baimusic criticismGongzhong Xingleci poems about music in the palace]; TingqingshiFuqingshipoems about listening to and playingthe Qin] ;Guanjiyueshi poems about watching the music of prostitutes]; Yuerenpinzaoshi poems about the musician’s criticism

 

 

清代礼俗音乐文化的历史溯源

李   

 要:礼俗音乐包括官方礼仪中的仪式音乐和民间礼俗活动中的音乐。文章考察了清代释奠礼乐,论证其官礼乐制是对宋明礼乐的继承和发展,有守成之制,也有务实整合创新,一脉延续中华治国之礼乐思想;其民间礼仪深受朱子家礼的影响,可追溯至北宋礼不下庶人的历史渊源;其宗族家礼仪式用乐中,也可管窥到上古《诗经》歌曲,如二南等对后世的深远影响。

关键词:清代;礼俗音乐;二南;家礼;官礼

作者简介:李莉(1976— ),女,艺术学博士,武汉音乐学院音乐学系教授、硕士生导师,泰国宣素那他皇家大学博士生导师(武汉 430000)。

 

A Historical Trace Research of Ritual Music Culture in Qing Dynasty

Li Li

Abstract Ritual music in Qing Dynasty is divided for official ceremonies and for folk ritual activities. Based on the examination of the music of Shidian ritesthe article proofs this official rites and music system of the Qing Dynasty had inherited the tradition and developed upon the coalescing from the Song and Ming dynasties. So they constituted the traditions of Chinese rites and music thought of political governance together. The folk rites are deeply influenced by the Zhuzijiali Zhuzis’ Rites], which can be traced back to the Northern Song dynasty thought that “Rites do not for the common people”. And the music for the clan rites can be found in Shijing for examplethe Ernan has great influenced in the history.

Key words Qing Dynastyritual musicErnan family ritualofficial ritual

 

 

史学理论与音乐教育

音乐史写作传统的坚守、突破与相关反思

——针对普兰廷加《浪漫音乐:19世纪欧洲音乐风格史》的史学方法论探讨

   纯,杨燕迪

 要:普兰廷加教授的《浪漫音乐:19世纪欧洲音乐史》作为一部重要的19世纪风格断代史,尽可能地克服传统风格史的局限性,体现出一种更有前瞻性的撰史思路。本文通过再度审思这本断代史的撰史特点与学术价值及其局限性,旨在对当下音乐史学方法论重要问题进行进一步探讨与批评性反思。

关键词:风格史; 历史主义; 实证主义; 批评; 诠释; 个性

作者简介:唐纯(1976— ),女,华东理工大学人文科学院讲师,上海音乐学院2021级博士生(上海 200237);杨燕迪(1963— ),男,beat365体育亚洲官方网站院长,上海音乐学院教授,博士生导师(哈尔滨 150028)。

 

Perseverance, Breakthrough and Related Reflection of the Tradition of Music History Writing——A Historiographical Discussion of Plantinga’s Romantic Music: A History of Musical Style in Nineteenth-Century Europe

Tang ChunYang Yandi

Abstract Professor Plantinga’s Romantic MusicA History of Musical Style in Nineteenth-Century Europe as an important nineteenth-century Stylistic historybreaks the constraints and reflects a more forward-looking approach to music history. Through the reviews of this bookthe author is trying to reflect on some important issues worthy of attention in the current music historiography research from its academic value and limitations.

Key words Stylistic historyHistoricismPositivismCriticismInterpretationIndividual style

 

 

从媒介间性视阙透视音乐整体教育的发展趋向

唐文滔,罗艺峰

 要:媒介间性是一种跨媒介、超越互文性的符际现象,可指同种媒介或不同媒介之间的关系,也可指同一部/一组人工作品中值得注意的或特有的结构内现象。媒介自含关系性,媒介间性则反映的是整体主义哲学观照下普遍联系的媒介思维范式。关注媒介间性是认识音乐教育时代性的客观要求,也是主体发展音乐整体具身认知的需要。关注音乐教育的媒介间性有助于主体在音乐实践中获得多维审美体验、激活音乐联觉,在先验中实现具身性类化、建立自身内在秩序,并在音乐意义生成过程中实现自我。强化音乐教育的媒介间性还可为丰富音乐教学手段、活化教学形态以及深化教学目标创新思路。

关键词:媒介间性;音乐教育;价值追求;教学意蕴;音乐整体教育观

作者简介:唐文滔(1989— ),女,艺术学博士,广东技术师范大学音乐学院青年教师、助理研究员(广州 510665);罗艺峰(1947— ),男,西安音乐学院教授,中国音乐学院博士生导师(西安 710061)。

 

The Development Trend of Holistic Music Education from the Perspective of Intermediality

Tang WentaoLuo Yifeng

Abstract Intermediality is an kind of intersymbol phenomenon that cross media and beyond intertextualityit refer to the relationship between same or different media as well as to noteworthy or unique intra-structural phenomena in the same work/group of works. While media are self-contained and relationalthe intermediality reflects the paradigm of universally connected media thinking under a holistic philosophical perspective. Attention to intermediality is an objective requirement for understanding the contemporary nature of music education and a need for the subject to develop a holistic embodied cognition of music. Attention to intermediality in music education helps the subject to gain multidimensional aesthetic experience and activate musical association in music practiceto realize embodied cognition a priorito establish its own internal orderand to realize itself in the process of generating musical meaning. The strengthening of intermediality in music education can also create new ideas to enrich music teaching methodsrevitalize teaching forms and deepen teaching goals.

Key words intermedialitymusic educationvalue pursuitpedagogical implicationsholistic idea of music education

 

 

首届哈音·博学乐风音乐博士论坛(II

《四重人格》多重文本的叙事语言研究

张小丹

 要:《四重人格》(Quadrophenia)是英国摇滚乐队The Who)于1973年发表的一张概念专辑,讲述一位年轻的摩德族Mods)吉米(Jimmy)不安、焦躁和幻灭的经历,歌词充满了互文与隐喻。专辑共有17首曲目,有四个贯穿专辑的音乐主题,大部分曲目中有使用实地采样的环境音效。文章分析了该专辑中多重文

本的交织互动,讨论了专辑涉及的多重概念主题。

关键词:《四重人格》(Quadrophenia);英国摇滚乐队The Who);概念专辑;摇滚歌剧 多重文本 叙事

语言

作者简介:张小丹(1992— ),男,上海音乐学院音乐学系2020级博士生,上海音乐学院与伊斯曼音乐学院联合培养博士生;导师:陶辛教授、约翰·科瓦奇(John Covach)教授(上海 200031)。

 

A Study on The Narrative Language of Multiple Texts in The Who’s Quadrophenia

Zhang Xiaodan

Abstract Quadrophenia a conceptual album released by the British rock band The Who in 1973. It tells the story of a young ModJimmywho was disturbedagitated and disillusioned. The lyrics are full of intertextual and metaphorical. The album has 17 tracksfour musical themes that cohere through the albumand ambient sounds using field samples on most tracks. The article analyzes the interaction of multiple texts in the album and discusses the multiple conceptual themes involved in the album.

Key words Quadrophenia British rock band The Whoconceptual albumrock operamultiple textsnarrative language

 

 

简约主义建构的宏大叙事

——论菲利普·格拉斯《第五交响曲安魂、中阴、应身》的写作特征

杨婷婷

 要:菲利普·格拉斯(Philip Glass1937—)是简约主义音乐的代表人物之一。他的作品显示出简约主义技法与传统音乐形式的碰撞。在他的《第五交响曲安魂、中阴、应身》(Symphony NO. 5 - Requiem Bardo

and Nirmanakaya1999)中,运用了多种宗教文本构成的宏大叙事,在构成宏大叙事的技术上,突破了简约音乐的思维定式与技术限制,使该作品更具备个人风格。文章对该作品的复杂题材和简约性技术进行详解,阐述

格拉斯如何用全新的简约手法来建构音乐的宏大叙事。

关键词:菲利普·格拉斯(Philip Glass1937—);简约主义;宏大叙事;音乐结构;写作特征

作者简介:杨婷婷(1995— ),女,上海音乐学院音乐学系2021级博士生;导师:王丹丹教授(上海 200031)。

 

The Grand Narrative Constructed by Minimalism Characteristics of Philip Glass’s Symphony NO. 5 - Requiem, Bardo and Nirmanakaya

Yang Tingting

Abstract Philip Glass 1937- is one of the representative composers of minimalist. His works show the collision of minimalist techniques and traditional musical forms. In his Symphony NO. 5 - RequiemBardo and Nirmanakaya 1999), he quotes distinct religious texts for the purpose of magnificent narrativefurthermore he get outside the idea paradigm and technique limitation of the minimalist to contribute the technique for itso this output signified quite personality. The article explains the complex subject matter and the minimalist technique of the workas well as illustrates how Glass uses a new minimalist approach to construct the grand narrative of the music.

Key words Philip Glass 1937-); MinimalismGrand NarrativeMusical StructureWriting Features

 

 

《新音乐》与《音乐杂志》中的上海新运之声

郝泽琼

 要:新音乐运动是我国20世纪30-40年代以创建新音乐为目的的文化运动。上海新闻报刊业,在抗日战争胜利后逐渐复苏的1946年《新音乐》与《音乐杂志》同时发刊,成为上海新音乐文化传播的主要平台,两本期刊分别发出推动歌咏引进西乐新音乐运动的不同呼声。这来源于不同音乐家群体对时局与音乐民族化认识的差异,反映出对当时群众音乐发展途径与国防音乐形式选择等问题的各持主张。文章分析了两个刊物对两类音乐家群体在新音乐运动中的分歧表现,总结当时群众音乐活动在存异中如何求同的有效经验。

关键词:《新音乐》(上海版);《音乐杂志》;上海;新音乐运动

作者简介:郝泽琼(1994— ),女,beat365体育亚洲官方网站音乐学系2020级博士生;导师:王岩教授(哈尔滨 150028)。

 

The Sound of Shanghai’s New Music Movement in New Music and Music Magazine

Hao Zeqiong

Abstract The New Music Movement was a cultural movement that aimed at creating new music in the 1930s and 1940s in China. In 1946after the gradual recovery from the victory of the War of Resistance Against Japanesethe New Music and Music Magazine were published at the same time and became the main platform for the dissemination of new music culture in Shanghai. The two periodicals issued different voices for the New Music Movementsuch as Promoting Singing and Introducing Western Music respectively. This reflects not only the differences in the understanding of different groups of musicians about the current situation and the nationalization of musicbut also the different views on the development of mass music and the forms choice of music about national defense at that time. The article analyzes the two periodicals on the divergent performance of two groups of musicians in the New Music Movement and summarizes the effective experience of how mass music activities of the time found common ground in the midst of differences.

Key words New Music Shanghai Edition); Music Magazine ShanghaiNew Music Movement

 

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