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《北方音乐》2024年第1期(改版总第9期)目录与摘要概览

作者: 时间: 2024年01月10日 09:21 点击数:


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中国音乐史研究

 

古代礼乐关系中我国音乐规制的思想诠释

田可文

 要:”“是中国古代文明的一种特征。的仪式在西周初年经周公等的改造,从宗教制度转换为基本的典章制度,规定着社会生活、贵族活动与国家社会政治生活的方方面面。而被周代改造为沟通情感基本方式,其目的通过来化解因的秩序化、等级化而带来的社会对立与矛盾。利用礼教”“乐教形成一套完善的礼乐制度,来维护封建等级的秩序,以礼乐教化通行天下,使人修身养性、体悟天道、谦和有礼、威仪有序。礼乐对后来各朝代都产生重大而深远的影响。

关键词:周代;礼;乐;政治生活;礼乐制度

作者简介:田可文(1955— ),男,beat365体育亚洲官方网站特聘教授、武汉音乐学院教授、博士生导师(哈尔滨 150028)。

 

Interpretation of Regulation of Music Idea Based on its Relationship with Ancient Ritual

Tian Kewen

AbstractLi The hierarchical system of ancient society that included the moral code and behavioral normsand Yue musicwere features of ancient Chinese civilization. The rituals of Li were re formed by the Duke of Zhou and others in the early years of the Western Zhou Dynasty from religious rules to the basic system of laws and regulationswhich governed all aspects of social lifearistocratic activities and national social and political life. The Yue Reformation in Zhouwhich worked as the basic way of communicating emotionsaimed to dissolve the social antagonisms and contradictions that brought about by the orderliness and hierarchical nature of Li by Yue. The utility a perfect “Regulation of Liyue” which formed by Lijiao etiquette and moralizingand Yue Jiao music educationwas to maintain the order of the feudal hierarchy. Sothe governing which based on the “Regulation of Liyue” was realized by the its functions that cultivating people’s moral character and to understand the way of natureso that they will be not only modest and courteousbut also majestic and orderly. The Liyue had a significant and far-reaching influence on the subsequent dynasties.

Key words Zhou Dynasty LiYue Political LifeLiyue Regulation

 

《左传》所引《诗经》的音乐形式、结构与组合考

申莹莹

 要:《左传》所引《诗经》是歌诗”“诵诗”“赋诗,均可归为声乐的诗乐形式。歌诗重在歌唱,多作礼制仪式用乐,由乐工表演,歌唱时有瑟作伴奏。诵诗赋诗重在吟咏。这些乐诗涉及《诗经》中的《风》《雅》《颂》,而以《风》《雅》诗篇为主。从其唱词分析,《风》《雅》乐诗歌曲结构趋同,显示出俗乐对诗乐结构的影响。结合各类乐诗的组合使用可以看出,春秋时期礼乐用《诗》的等级规制已被打破,呈现出礼乐发展的衰迟之势。

关键词:《左传》;《诗经》;歌诗;诵诗;赋诗

作者简介:申莹莹(1982— ),女,文学博士,中央音乐学院音乐学系讲师(北京 100031)。

 

Research of the Musical Forms, Structures and Combinations of the Shijing Cited in Zuozhuan

Shen Yingying

AbstractThe Shijing The Book of Songsquoted in Zuozhuan The Chronicle and Commentary of Zuoare Geshi Aria Poem], Songshi Recitative Poetryand Fushi Narrative Lyric], all can be categorized into vocal music that in the form of Shiyue musical poems. The Geshi focus on melody singingand is mostly used for rituals and ceremonieswhich is performed by musicians and accompanied by Se ancient plucked zither. The Songshi and Fushi mainly performs in the form of Yiyong chanting. These Yueshi exists in the Feng Airs of the State], Ya Elegiesand Song Odesof Shijingand the psalms in the first two being the main part. Analyzed the lyricsthe form of the Yueshi in the Feng and Ya poems are similarshowing the influence of secular music on the structure of Shiyue. Based on the observation of the combined use of various types of musical poemwe can further prove that the hierarchical rules of using Shi Poetryfor ritual music in the Spring and Autumn Period has been brokenrepresenting the tendency of decline in the history of ritual music.

Key wordsZuozhuanShijingGeshiSongshiFushi

 

唐宋燕乐调命名系统的演变及其原因探析

张红梅

 要:唐宋燕乐调存在之调式”“为调式两种不同的命名系统,正确辨析不同时期的宫调称谓对理解燕乐宫调理论的内涵与本质有极其重要的影响。《唐会要》《乐府杂录》《新唐书》等文献中二十八调的称谓表述是统一的之调式体系,体现出唐人对雅、燕两种不同性质音乐的明确区分;《景祐乐髓新经》《梦溪笔谈》《补笔谈》中的二十八调则采用为调式命名体系,反映出北宋时期燕乐二十八调逐渐被纳入雅乐系统,在丰富了雅乐内涵的同时也被雅化改造;南宋复古崇雅意识强烈,遵从儒家正统雅乐制度的同时,深受民间俗乐及唐乐遗音的影响,采用之调式称谓体现出南宋雅乐俗化、燕乐雅化的音乐实践与乐调理论的折衷融合。

关键词:唐宋燕乐调;二十八调;之调式;为调式;宫调

作者简介:张红梅(1974—),女,文学硕士,鲁东大学艺术学院教授(山东烟台 264000)。

 

The Evolution and Cause of the Nomenclatures of Yan-Yue-Diao in Tang and Song Dynasties

Zhang Hongmei

AbstractThere are two different nomenclatures in the Yanyuediao Yan Music Modesin Tang and Song Dynastiesi.e.Zhidiaoshi A Note of A Mode Methodand Weidiaoshi A Note as Tonic Note Method. Discrimination of tone designations of Gong-Mode of different periods has an extremely important impact on the understanding of the connotation and essence of the Gong-Mode of Theory in Yanyue. The 28-Modes in Tang Hui Yao Historical Records of the Institutions of Tangand Yue Fu Za Ji Miscellaneous Records of the Musical Affair Officewas named in the same waywhich as the Zhi Diao Shi Systemreflecting the Tang people’s clear distinction between Ya-Yue elegant musicand Yan-Yue that of two different natures. While the Jingyou Yuesui Xinjing Jingyou New Theory of Musical Temperament], Meng Xi Bi Tan Brush Talks from Deram Brookand the other literture adopt the Wei Diao Shireflecting the fact that the 28-Modes of Yan Music in the Northern Song Dynasty were gradually incorporated into the Yan Music system. The musician in Southern Song Dynasty complied with the orthodox Yayue system of Confucianism and adopted the appellation of Zhidiaoshiwhich embodied the eclectic compromise of music practice and the theory of tonality that based on the secularization of the Ya Yue of Southern Song and the elegant tendency of the Yanyue.

Key wordsTang and Song Yanyue modes28-ModesZhidiaoshiWeidiaoshiGong-Mode

 

犯调集曲辩正

 鑫,施德玉

 要:犯调集曲在学界是常被混淆的名称。犯调在传统乐学中是关于宫调关系的术语。其广义的意涵是指调性或调式的变换,就原曲调性与调式而言,有被侵犯之意;而集曲是指采用若干支曲牌,各摘取其中的若干乐句,重新组成一支有首有尾的新曲牌,对原曲牌而言,也有被侵犯之意。因此,犯调集曲便产生有相同意义之现象,因而,历来引发许多的讨论与争议。文章分析了犯调的多重意义,即包含词乐之犯调、也论述犯调的形式与内容;文章也探讨集曲的形式与结构,其所包含曲牌片段组合之形式、曲牌片段之衔接。文章继而再将犯调集曲进行比较,论述了犯调集曲之异同。

关键词:犯调;集曲;曲牌体;期待视野(expectation-horizon);辩正

作者简介:仝鑫(1994— ),女,台湾艺术大学表演艺术学院艺术学博士,安徽淮北师范大学音乐学院讲师(安徽淮北235000);施德玉(1959— ),女,文学博士,台湾艺术大学教授、台湾成功大学艺术研究所特聘教授,博士生导师(台湾新北 220307)。

 

Correction of Fandiao and Jiqu

Tong XinShi Deyu

Abstract Fandiao and Jiqu are confused in the academic area frequently. Fandiao is a term of the relationship of Gone-mode in the traditional music researchbroadly connotated the change of tonality or modalityso Fan means violating the original tune in the two aspects. While Jiqu means excerpting phrases from different Qupai to reforge a new Qupai music which to be coherentso for the originals can be seen as infringed. Thereforethe phenomenon of Fandiao and Jiqu have the similar meaningwhich has been the cause of many discussions and controversies. The article not only analyzes the connotative meanings of Fandiaoi.ethe Fandiao of which include lyricand the form and content of itbut also discuss the form and structure of Jiqui.ethe combination method and articulation technique of the verses it usedso as to compare the Fandiao and Jiquthen conclude their differences and similarities.

Key wordsFandiaoJiquQupai genreexpectation-horizoncorrection

 

中国当代声乐协奏曲创作及其本土化特征

杨正君,朱越文

 要:声乐协奏曲作为人声与器乐相结合的特殊音乐体裁,在中国已有数十年的发展历史,更有不少有影响力的作品问世。文章试图通过梳理中国声乐协奏曲的发展历史与现状、体裁属性、子体裁类型等创作概况,进而分析归纳出当代中国声乐协奏曲创作中音乐风格的民族性、人声与乐队协作的中国性、人声的炫技性与叙事性等本土化发展特征,并指出当代中国声乐协奏曲创作的某些局限与发展趋势。

关键词:音乐体裁;声乐协奏曲;人声与乐队;本土化

作者简介:杨正君(1977— ),男,文学博士,星海音乐学院教授,硕士生导师;朱越文(1995— ),女,星海音乐学院作曲系2021级硕士研究生(广州 510006)。

 

Contemporary Chinese Creation of Vocal Concertos and Their

Localization Characteristics

Yang ZhengjunZhu Yuewen

AbstractAs a special musical genre combining vocal and instrumental musicvocal concerto has been developed in China for decadesand many influential works have been released. Based on the research of the historystatusattributesand its sub-kind types of the genrethe article analyzes and summarize the located characteristics of the contemporary Chinese vocal concertossuch as the ethnic musical stylethe Chinese style in the collaboration between the vocals and the orchestrathe virtuosity and narrativity of the vocals. At lastthe authors point out some of the limitations and the development trend of the creation of the contemporary Chinese vocal concerto.

Key wordsmusic genrevocal concertovocals and orchestralocalization

 

音乐民族学研究

 

论我国民族音乐理论的初期建设(1949-1966

刘振涛

 要:1949年中华人民共和国成立至1966年,中国传统音乐理论研究形成第一个高峰。该时期理论成果主要是对民间音乐的收集、整理,研究与探讨主要集中于唱法问题、形态研究、历史演变、继承与改革、语言与音乐的关系等方面。对少数民族的音乐研究,多在采集、整理层面;宗教音乐也开始纳入学者的视野。中国民族音乐理论的初期建设呈现出形态描述、乐种梳理与史学贯通的三大学术传统,以及音乐文化音乐音乐、文化一明一暗的学理路径。当代音乐研究应重视并继承我国本土的传统研究方法。

关键词:传统音乐;民族音乐;音乐理论研究;初期建设

作者简介:刘振涛(1986— ),男,艺术学博士,南阳师范学院中原传统音乐研究院副院长,副教授,河南大学文学院在站博士后(河南南阳 473061)。

 

The Early Construction of Chinese Ethnic Music Theory (1949-1966)

Liu Zhentao

AbstractBetween the founding of the People’s Republic of China in 1949 and 1966the theoretical study of Chinese traditional music formed its first peak. The theoretical achievements of that period were mainly the collection and classification of folk musicand the research and study were mainly focused on the method of singingmorphologyhistorical evolutioninheritance and reformand the relationship between language and music. The research on national minority music was mostly focus on the jo collection and classificationand the scholars began to notice the religious music. The initial construction of Chinese ethnomusicology theory showed the three academic traditionsi. e. morphological descriptionmusic genre collectionhistorical researchas well as those opposite academic pathsi. e. music-culture-music and music & culture. Contemporary music research should emphasize and inherit our local traditional research methods.

Key wordstraditional musicethnic musicmusic theory researchinitial construction

 

衍生、存续与主体性丧失的困窘

——“非遗后时代鄂伦春族传统音乐的三化现象

 

 要:文章论述当代鄂伦春族传统音乐传承中的经典化”“舞台化传承人化三化现象。这种传承方式导致的结果,是一种缺失主体性表述的现代存续。而要真正实现其作为一种文化符号的传承,与作为文化资源的创新性发展与转化,应立足于其民族文化之本位,凸显自身内源性特征,在民族文化认同基础上,实现民族音乐文化的衍生、存续与主体性建构。

关键词:非遗后时代;鄂伦春族;民歌;三化;现象

作者简介:陈龙(1991— ),男,艺术学博士,在站博士后,beat365体育亚洲官方网站副教授,硕士生导师(哈尔滨 150028)。

 

The The Dilemmas of Derivation, Survival and Subjectivity Lost

——Three Tendencies of Oroqen Traditional Music in the Post-Non-Heritage Era

Chen Long

AbstractThe article discusses three tendenciesi.e.only classic be documentedperform aimed and inheritor dominatedin the transmission of contemporary Oroqen traditional musicwhich resulted a kind of modern survival which lacks the expression of subjectivity. In order to realize the inheritance both as a cultural symbol and its innovative development and transformation as a cultural resourceit should be based on its national culturehighlight its own endogenous characteristicsand realize the derivationsurvival and subjectivity construction of national music culture on the basis of national cultural identity.

Key words Post-Non-Heritage EraOroqenFolk SongsThree TendenciesPhenomenon

 

谁的田野?

——从一个田野事件论跨学科音乐田野访谈中的思维秩序构建

张春蕾

 要:文章聚焦跨学科中的音乐田野访谈问题,通过对田野采风的历史梳理,阐明田野工作并非民族音乐学的专属,并谈及现今田野的实践与理论在各学科不匹配的现状。进而通过具体的跨学科田野事件的引入,揭示其中现象与思维混乱的问题。并根据具体田野事件,对田野工作进行分类,从个体身份转换、学科思维搭建、思维互换与田野访谈合作,结合逻辑分析与博弈论的方法,具体分析跨学科田野中的合作问题,论证田野访谈中的思维秩序的构建。

关键词:音乐田野;跨学科;访谈;思维秩序;构建

作者简介:张春蕾(1989— ),女,艺术学博士,中国音乐学院在站博士后,中国音乐研究基地研究员(北京 100101)。

 

Whose Field Work?

——On the Construction of Thinking Order in Interdisciplinary Music

Fieldwork Interviews based on a Field Event

Zhang Chunlei

AbstractThe article discusses three tendenciesi. e. only classic be documentedperform aimed and inheritor dominatedin the transmission of contemporary Oroqen traditional musicwhich resulted a kind of modern survival which lacks the expression of subjectivity. In order to realize the inheritance both as a cultural symbol and its innovative development and transformation as a cultural resourceit should be based on its national culturehighlight its own endogenous characteristicsand realize the derivationsurvival and subjectivity construction of national music culture on the basis of national cultural identity.

Key wordsPost-Non-Heritage EraOroqenFolk SongsThree TendenciesPhenomenon

 

延边四物乐口音特征

马琦玥

 要:口音(구음,gueum)伴随朝鲜民族传统乐器演奏而生,是利用口腔模拟乐器发声的呈体系性的声音,并广泛应用于朝鲜族音乐的教学和演奏中。文章以作者的跨界田野工作、四物乐研习经历为依据,以延边四物乐创始人陈京洙所教授的口音系统为研究对象,对其口音体系与演奏方法之间的关系进行梳理,对其特征进行以音示法”“以音定色”“以音代格”“以音和韵四个方面的论析与结论。口音是撬动四物乐表演行为系统的关窍,对四物乐表演的整体性研究具有重要价值。

关键词:口音四物乐;延边;朝鲜族音乐

作者简介:马琦玥(1988— ),女,回族,艺术学博士,中国戏曲学院讲师(北京 100082)。

 

The “Gueum” Characteristics of Yanbian “Samulnori”

Ma Qiyue

Abstract“Gueum” 口音associated with the Korean nationality traditional instrumentsis the use of oral simulation instrument the voice of the voice of a systemand is widely applied in the Korean nationality music playing and teaching. Based on the author’s cross-boundary field work and study experience of “Samulnori”四物乐), this paper takes the “gueum” system taught by Chen Jingzhuthe founder of Yanbian “Samulnori” as the research objectand summarizes the relationship between its “gueum” system and playing methodsand analyzes and concludes its characteristics from four aspects“indicating method by gueum” “determining tone by gueum“ “representing rule by gueum”and “integrating gueum with rhyme” “Gueum” is the key point to move the performance behavior system of “Samulnori”which is of great value to the overall study of “Samulnori“ performance.

Key wordsGueumSamulnoriYanbianthe Korean nationality music

 

天琴:与祖先和神灵交谈的一种仪式乐器

舒翠玲

 要:天琴作为广西西南部壮族区域一种仪式乐器,是壮族传统礼俗音声的重要表现对象,也成为壮族人民与祖先、神灵沟通的媒介。作者通过对该地区受戒出师仪式、添粮补寿脱孝除服等仪式的参与和实地考察,对广西崇左地区的龙州、凭祥等壮族地区仪式中天琴的使用进行调研,探讨壮族天琴师如何主持祝寿仪式、如何与祖先神灵沟通、如何为死去的亲人脱孝回归正常的社会生活秩序,进而探讨壮族布傣族群的社会秩序和礼法制度。

关键词:天琴;天琴师;受戒;添粮补寿;脱孝除服

作者简介:舒翠玲(1984— ),女,哲学博士,广西民族师范学院艺术学院副教授(广西崇左 532200)。

Tianqin: A Ritual Instrument for Communicating to Ancestors and Gods

Shu Cuiling

Abstract The Tianqinas a ceremonial instrument in the southwestern Guangxi Zhuang region and a medium of communication between humans and their ancestors and godsis an important manifestation of the traditional secular ritual sounds of the Zhuang. Through the participation and fieldwork of the ceremonies that Shoujie Chushi accepting the precepts and finishing apprenticeship], Tianliang Bushou adding food to make up for longevityand Tuoxiao Chufu taking off the clothes symbolling the filial piety for dead relatives], the author studied on the use of Tianqin in these ceremonies in LongzhouPingxiang and other Zhuang regions in Guangxi Chongzuo Areaand furthermore explored how the Tianqin masters preside over the birthday ceremonies for aged and macrobianhow the people communicate with the spirits of their ancestorsand how they return to the normal order of social life after Tuoxiao Chufu. Then the author discusses the social order and the ritual and institution system of the Zhuang’s Budai ethnic group.

Key wordsTianqinTianqin masterShoujieTianliang BushouTuoxiao Chufu

 

俄罗斯音乐与西方音乐研究

 

悲剧几何学实验:斯特拉文斯基《俄狄浦斯王》音乐戏剧观念与实践四因说

 洁,杨燕迪

 要:文章以斯特拉文斯基悲剧几何学概念原点,提出其音乐戏剧观念与实践四因说,来探讨其音乐戏剧《俄狄浦斯王》的四因起因”——基于斯氏个人反浪漫主义批判,探讨他为何随着历史时间轴从早期芭蕾舞剧作品转而创作这部音乐戏剧《俄狄浦斯王》;外因”——论证斯氏为何而又如何在新古典主义阶段重新理解此剧基于悲剧主题的现代性追求;内因”——根据斯氏几何学思路,分析此部作品中所设置的两个戏剧空间动因”——斯氏自身定位的中心轴思维如何体现戏剧的中心、表情、风格。

关键词:斯特拉文斯基;《俄狄浦斯王》;悲剧几何学中心轴思维

作者简介:吴洁(1998— ),女,上海音乐学院音乐学系2021级音乐戏剧研究方向硕士研究生;杨燕迪(1963— ),男,beat365体育亚洲官方网站音乐学系教授、博士生导师,上海音乐学院教授。

 

Experiments of Tragic Geometry: The Four Causes of Musical Drama Concepts and Practices in Stravinsky’s Oedipus Rex

Wu JieYang Yandi

Abstract Based on Stravinsky’s concept of tragic geometrythe article proposes The four causes of musical drama concepts and practicesand then discuss the four causes of his musical drama Oedipus Rex. Through the original causesbased on Stravinsky’s personal “anti-romantic” critiqueexplores why he moved from his early ballet works to the musical drama “Oedipus Rex” along the historical timeline.The external causesthe author demonstrate why and how Stravinsky reinterpreted the quest for modernity in the Oedipus Rex which based on the theme of tragedy in the neoclassical period. The internal cause is Stravinsky’s ideas on the geometrywhich be the basis of analyzing the two theatrical spaces set up in the work. The motivation is Axis-thinking upon Stravinsky’s own positionthe author research how it reflects the centerexpression and style of the play.

Key wordsStravinskyOedipus RexTragic GeometryAxis-thinking

 

视觉音乐:阿穆尔地区传统仪式场景中的声音模仿

[俄]Я.С.克里扎诺夫斯卡娅 著,顾伟泉 译

 要:文章分析了俄罗斯远东地区南部各族群文化表演中声音模仿的各个要素。在阐述仪式表演文本作为编舞、场景设计与声音模仿的重要性的同时,作者强调了仪式场景的混合主义表演基础。在仪式场景中基于声音模仿体系的混合主义思想意识在现实中不仅仅赋予了人们听觉印象,而且还将其转化成为视觉印象,因此这种混合主义思想意识展现出了各族群在思想意识上的统一。

关键词:仪式表演;阿穆尔-萨哈林地区;混合主义;声音模仿;自然音乐

原作者简介:Крыжановская Яна Станиславовна1964— ),女,文化学博士,俄罗斯哈巴罗夫斯克国立文化学院文化学与博物馆学系主任、教授。

译者简介:顾伟泉(1965— ),男,管理学硕士,beat365体育亚洲官方网站图书馆馆长、研究馆员,东北民歌艺术促进会艺术顾问,中国图书馆学会阅读推广委员会艺术与阅读专业委员(哈尔滨 150028)。

 

Music for Eyes: To the Problem of Sound Imitation of Traditional Amur Spectacle

Kryzhanovskaia Iana StanislavovnaTranslated by Gu Weiquan

Annotation This article analyzes the audio component of the culture of ethnic groups in the south of the Far East. Recognizing the importance of ritual and spectacle text as a choreographic systemstage design and acoustic principlesthe author highlights the spectacular framework of ritual syncretism. It develops the idea that syncretic consciousness based on acoustic simulation not only gives a series of rites sound experience but also translates them into visual experiencedemonstrating the unity of consciousness of tribal man.

Key wordsritual spectacleFar East regionsyncretismsound imitationthe music of nature.

 

布列兹《切口》中音名主题拆分与组合及结构逻辑探析

姚子艺,杨和平

 要:皮埃尔·布列兹(Pierre Boulez)是整体序列主义的代表人物,他以大胆的创作理念和手法影响了西方现代音乐的发展。《切口》(Incises)是布列兹晚期作品,于1994年创作,1996年改写为室内乐作品《片段》(Sur Incises),2001年在此基础上创作了新的钢琴独奏《切口》。该作品采用萨赫尔音名主题六音作为核心材料,将音名主题拆分为两个三音集合,再将其移位、倒影、拼接等衍生出各种类型。同时,预设核心元素,形成独特的马尔科夫链,以此来构成作品独特的结构逻辑。

关键词:布列兹;《切口》;萨赫尔音名主题;马尔科夫链;结构逻辑

作者简介:姚子艺(1996— ),女,土家族,艺术学硕士,吉首大学音乐舞蹈学院助教(湖南吉首 416000);杨和平(1971— ),艺术学博士,武汉音乐学院作曲系教授、硕士研究生导师(武汉 430060)。

 

An Exploration of the Splitting and Combining of the Theme upon the Pitch Name in Boulez’s Incises and its Structural Logic

Yao ZiyiYang Heping

Abstract Pierre Bouleza representative of total serialisminfluenced the development of Western modern music with his advanced compositional concepts and techniques. Incisesas his late outputwas composed in 1994 and arranged as a chamber work Sur Incises in 1996on which a new Incises was composed for solo piano in 2001. The work uses the pitch name theme ♭E-A-C-B-E-Dwhich originated from Sacher’s nameas its core material through split the theme into two three-note pitch class setsand then derivate new types upon the shiftinversion and collage. As the result of presetting of the core elementsa unique “Markov chain” was establishedand which constitutes the unique structural logic of the work.

Key words BoulezIncisesSacher pitch name themeMarkov chainstructural logic

 

Sentence 及其结构研究

——以古典主义时期作品为例

符方泽,杨伟杰

 要:文章以sentence为研究对象,一方面对国内外曲式学教材及相关文献展开概念比较、辨析与理论梳理,阐明其基本概念与内部结构;另一方面则以古典主义时期作品为分析实例,讨论这种特定主题(句法)的结构范型、并进一步对其结构变形的情况进行归类。

关键词:Sentence;古典风格;范型;变形;陈述短句;延续短句

作者简介:符方泽(1980— ),男,武汉音乐学院作曲系副教授;杨伟杰(1997—),男,武汉音乐学院2021 级研究生(武汉 430000)。

 

Sentence and Its Structural Studies

——Taking the Works of the Classical Period as an Example

Fu fangzeYang Weijie

Abstract In this papersentence is taken as the research object. On the one handconcept comparisondiscrimination and theoretical sorting that based on the domestic and abroad textbooks and related literatures of form study carried out to clarify the basic concepts and internal structure. On the other handwe take classical works as examples to discuss the “structural paradigm” of this particular theme syntaxand further categorize its “structural deformation”.

Key wordssentenceclassical styleparadigmdeformationpresentation phrasecontinuation phrase

 

 

会议综述

 

2023·中国音乐家协会西方音乐学会第七届年会综述

 

 要:20231020—21日,由beat365体育亚洲官方网站、中国音乐家协西方音乐学会主办,beat365体育亚洲官方网站音乐学系、科研处承办,上海音乐出版社协办的中国西方音乐学会第七届年会在beat365体育亚洲官方网站召开。年会搭建起全国西方音乐研究学者研究、学习、交流和展示的学术平台,展示出我国近年来西方音乐史学研究的最新成果,投射出研究的新理念、新方法、新视野,推动了我国新时代西方音乐研究的新途径。

关键词:2023年;西方音乐学会;beat365体育亚洲官方网站;第七届年会;综述

作者简介:陈海(1990— ),男,beat365体育亚洲官方网站音乐学系2023级博士生;导师:杨燕迪教授(哈尔滨 150028

 

Review of the Seventh Symposium of the Western Music Society of China Musicians Association

Chen Hai

Abstract From October 19 to 222023the Seventh Symposium of the Western Music Society of China Musicians Association was successfully held in Harbin Conservatory of Musicwhich sponsored by Harbin Conservatory of Music and the Western Music Society of China Musicians Associationorganized by the Department of Musicology and the Office of Academic Research Affair of Harbin Conservatory of Musicand co-sponsored by Shanghai Music Publishing House. The Symposiumwhich providing an academic platform for the western music researchersfocused on the latest academic research results of western music historiographypresented the new ideasmethods and perspectives of western music research in Chinaand pushed forward the development of western music research in the new era of China.

Key words2023Western Music SocietySeventh Symposium of the Western Music Society of ChinaWestern Music ResearchReview

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