专栏：中国乐学理论体系研究
Column: Research on the Theoretical System of Chinese Yue Xue
6／傅利民
／
孟戏的“腔”与“调”
Fu Limin／The "Accent" and "Tune" of Meng Opera
摘 要：
孟戏是指江西广昌甘竹地区于每年正月演出《孟姜女》故事用于本宗酬神祭祖的一种活动。孟戏有两种，一种是曾姓演出的“曾家孟戏”，一种为刘姓演出的“刘家孟戏”。本文在对孟戏的唱腔、剧目及相关曲牌进行考察分析与研究的基础上认为：孟戏为高腔，孟戏唱腔中存在海盐性的孟戏高腔曲牌。对于孟戏的调，艺人们在实践中有“不寻宫数调”的做法，具有较大的灵活性特点。因此，对于孟戏“调”和“腔”内涵的深入探究具有重要的乐学价值和实践意义。
关键词：
孟戏；声腔；宫调
Abstract:
Mengxi Opera refers to the performance of the story of "Meng Jiangnü" in the Ganzhu area of Guangchang, Jiangxi, during the first month of the lunar year as part of ancestral worship and deity veneration rituals. There are two types of Mengxi Opera: "Zeng Family Mengxi," performed by the Zeng family, and "Liu Family Mengxi," performed by the Liu family. Based on an examination and analysis of the vocal styles, repertoire, and related musical pieces of Mengxi Opera, this paper posits that Mengxi Opera features a high-pitched style and includes Haiyan-style high-pitched tunes. In practice, performers often exhibit considerable flexibility in the use of pitch, eschewing fixed modes and scales. Therefore, an in-depth exploration of the "accent" and "tune" of Mengxi Opera holds significant academic and practical value in studying musicology.
Keywords:
Meng Opera; The Tunes of Chinese Operas; Pentatonic Mode
15／胡晓东
满一飞／准十二平均律：一种应用律学现象——曲项四弦四柱琵琶律制归属问题探赜
Hu Xiaodong, Man Yifei／Semi-Twelve-Tone Temperament: Phenomenon of Applied Temperament: Exploration of the Temperament System Attribution of Quxiang Four-string and Four-column Pipa
摘 要：
应用律学与理论律学是律学研究的两大分野，前者重点关注音乐实践中应律乐器的音律特征，探究独存于音乐实践中的某种律学现象或律学原理，以形成对理论律学体系的辅证或互证，揭示其对于乐制体系的律学规范范式的律学理论范畴。准十二平均律即乐人在客观的音乐实践活动中产生的一种应用律学现象，属十二平均律发展的早期过渡阶段，是民间乐人在理论目标上追求十二平均律必经的历史进程。学界关于准十二平均律在应用律学中存在与否有较大争议，而曲项四弦四柱琵琶的律制归属问题可证实准十二平均律在应用律学中的存在。通过历史文献与文物考古互证、柱位设置与音分计算并举的方法，对曲项四弦四柱琵琶各弦柱之音程系数进行推算，得出其律制应属过渡性质的准十二平均律。这一发现有助于拓展乐器与律学内在关系的认知，重新审视十二平均律在应用律学领域中发展演变的历史事实，助推中国乐学理论体系的整体建设。
关键词：
曲项四弦四柱琵琶；律制归属；准十二平均律；应用律学；理论律学
Abstract:
Applied temperament and theoretical temperament are two major divisions of temperament research. The former focuses on the musical characteristics of instruments in musical practice, exploring specific temperament phenomena or principles that exist independently in practice. This helps to provide auxiliary or mutual evidence for the theoretical temperament system and reveals the theoretical category of the temperament norm paradigm for the music system. Semi-twelve-tone temperament is an applied temperament phenomenon musicians produce in their objective music practice activities. It represents an early transitional stage in the development of semi-twelve-tone temperament, reflecting the historical process that folk musicians undergo in pursuit of theoretical goals. There is considerable controversy in academic circles regarding the existence of semi-twelve-tone temperament in applied temperament. The issue of the temperament system attribution of the Quxiang four-string and four-column pipa can prove the existence of semi-twelve-tone temperament in applied temperament. By using historical data and relics, and through the method of simultaneously setting the column position of the Quxiang four-string and four-column pipa and calculating the pitch of the music played by it, as well as analyzing the frequency ratio between the pipa strings and columns, it is concluded that the temperament system should belong to the transitional nature of semi-twelve-tone temperament. This discovery helps expand the understanding of the internal relationship between musical instruments and temperament, re-examine the historical facts of the development and evolution of semi-twelve-tone temperament in applied temperament, and promote the overall construction of the theoretical system of Chinese music.
Keywords:
Quxiang Four-string and Four-column Pipa; Temperament System Attribution; Semi-Twelve-Tone Temperament; Applied Temperament; Theoretical Temperament
25／张
丽／罗婺土司遗存工尺谱抄本及其曲牌研究
Zhang Li／Research on Gongche Spectrum Manuscript and Qupai of Luowu Tusi Remains
摘 要：
罗婺土司遗存工尺谱抄本及其曲牌是中央王朝借助土司对边地实施“以文化民”“以夷制夷”政策的音乐物证。经史料、谱式、印章多方互证，推测盖有彝文印章的工尺谱为清康熙年间以后的土司传本，其译谱和韵谱具有稳定性和变异性特征。罗婺后裔对曲牌音乐的创造性传承，不仅衍生了很多古老曲牌的变体，还创制出兼具区域特色和民族特征的“大枝”“小支”曲牌群，这些曲牌既有礼乐的仪式性功能，又有俗乐的普适性特点。工尺谱是土司府重要的音乐文化遗产，所记载的曲牌作为文化制度的有声承载，对音乐思维的传承与发展、音乐文化的融合与认同起到了重要作用。
关键词：
罗婺土司；工尺谱抄本；曲牌
Abstract:
The Gongche spectrum manuscript and Qupai of Luowu Tusi remains are musical material evidence of the central government's policy of "Civilizing people with culture" and "Ruling minorities by minorities" through the power of the Tusi in border areas. Verified by various sources such as historical records, score formats, and seals, it is inferred that the Gongche spectrum with the Yi language seal is the Tusi inheritance manuscript from the Kangxi period of the Qing dynasty. Its translated spectrum and sung spectrum exhibit characteristics of both stability and variability. The creative inheritance of Qupai music by the descendants of Luowu has led to the derivation of many variants of ancient Qupai, as well as the creation of tune titles that combine regional characteristics and ethnic features, known as "Major Branches" and "Minor Branches." These Qupai possess both the ceremonial functions of courtly music and the universal characteristics of popular music. The Gongche spectrum is an important musical cultural heritage of Tusi Prefecture, and the Qupai it records serve as a musical carrier of the cultural system, playing a significant role in the inheritance and development of musical thinking and the fusion and identification of musical culture.
Keywords:
Tusi of Luowu; Gongche Spectrum Manuscript; Qupai
Column: Study of Kucha Musical Instruments
Miao Lihui／Study of Kucha Musical Instruments
摘 要：
龟兹乐器类型齐全、种类丰富，一方面得益于龟兹本土艺术家的创造，另一方面来自与其他乐器体系的交流和互鉴。它既是中华各民族乐器体系交往交流和交融的结果，也反映了世界乐器体系因交流而繁荣和发展。
关键词：
龟兹；乐器；齐全；交流；繁荣
Abstract:
Kucha musical instruments exhibit a full range of types and a rich variety. On the one hand, this diversity is partly due to the creativity of native Kucha artists. On the other hand, it results from the exchanges and mutual learning between Kucha and other musical instrument systems. This phenomenon is not only the outcome of the exchanges and blending among Chinese musical instrument systems of various nationalities, but also reflects the prosperity and development of the world's musical instrument systems through these interactions.
Keywords:
Kucha; Musical Instruments; Full Range of Types; Exchanges; Prosperity
46／肖尧轩／龟兹石窟伎乐壁画研究的新问题、新方法、新材料
Xiao Yaoxuan／New Issues, Methods, and Materials in the Study of Jiyue Frescoes in Qiuci Caves
摘 要：
国内对于龟兹石窟的研究起步较晚，于伎乐壁画研究而言，20世纪80年代《丝路花雨》掀起的“仿古热”，催生舞台创作从面向艺术形象区域标识的求索到朝向文化价值理性回归的求证，走向伎乐壁画研究的长足之路。1996年，《中国音乐文物大系·新疆卷》作为龟兹石窟伎乐壁画研究的标志性成果，打开了该话题的研拓。本文首先对学术史进行梳理，分析研究话题的聚焦和困境；其次以问题入手，探讨研究瓶颈，在受到形象史学影响下，提出龟兹石窟伎乐壁画“新方法”的五个途径并予以讨论；最后结合“新材料”的认识与分享，提出研究“新问题”的几点假设，以期为龟兹石窟伎乐壁画研究贡献微薄之力。
关键词：
龟兹石窟；伎乐壁画；乐舞；形象史学
Abstract:
Domestic research on the Qiuci Grottoes started late. In the 1980s, research on Jiyue (music and dance) frescoes was invigorated by the influence of "Silk Road Flower Rain", which ignited an "antique fever" towards Jiyue fresco research. This led to stage creations inspired by artistic imagery and regional identification, marking a rational return to the cultural value of the evidence. The publication of "
Chinese Music Heritage Series - Xinjiang Volum
e" in 1996 was a significant achievement in the study and development of Jiyue frescoes. This paper first analyzes the academic history of the grottoes, highlighting the focus and dilemmas of the research topics. It then explores the research bottlenecks related to the historiography of images under the influence of Qiuci Jiyue frescoes and discusses five new approaches. Finally, by incorporating new materials, it addresses the new issues and assumptions in this field, aiming to make a modest contribution to the study of Qiuci Jiyue frescoes.
Keywords:
Qiuci Grottoes; Jiyue Fresco; Music and Dance; Image Historiography
56／温
和／叙事与象征——音乐文献学视野下的“奏乐婆罗门”研究
Wen He／Narrative and Symbolism: A Study of "Brahmans Playing Music" from the Perspective of Chinese Musical Philology
摘 要：
作为大型涅槃经变中常见的构图内容，传统美术图录中名为 “奏乐婆罗门”或“外道奏乐图”的图像学母题，通常表现为数身婆罗门形象的世俗乐伎在释迦遗体周围以钹、鼓、琵琶、笛、拍板等乐器进行乐舞表演。然而因为这一图像学母题在早期佛教原典未能寻获相应的叙事文本，长期以来学界对这支世俗乐队的身份以及乐舞内容的性质存在较大分歧。本文通过音乐文献学视角的解读，指出“奏乐婆罗门”图像源自中古中国发展起来的一种仪式歌咏，并借助敦煌写本《佛母赞》的材料发见，揭露其本质为一种汉地佛教赞颂文本的视觉迻译，并在此基础上重新省察其图像学内涵，结合当时中国教坊音乐的比较，揭示这种图像叙事中所刻意表现的娱乐音乐特征。
关键词：
奏乐婆罗门；壁画榜题；柏孜克里克石窟；《佛母赞》；犍陀罗美术
Abstract:
As a common compositional element in large-scale Nirvana Sutra illustrations, the iconographic motif traditionally named "Brahmans Playing Music" or "Non-Buddhist Musicians" in traditional art catalogues, typically depicts several Brahman figures performing music and dance around the remains of Shakyamuni with cymbals, drums, lutes, flutes, and clappers. However, due to the absence of corresponding narrative texts in the Chinese Āgama sutras, there has long been considerable disagreement in academic circles regarding the identity of this secular band and the nature of their music and dance. This paper interprets the "Brahman Playing Music" motif from the perspective of Chinese musical philology, pointing out that the image originates from a ritual chant developed in medieval China. Utilizing material discovered in the Dunhuang manuscript
Fo-mu Zan (Chant of the Māyā)
, it reveals that this motif is essentially a visual representation of a Chinese Buddhist devotional song. Based on this, the paper re-examines its iconographic implications, and in comparison with contemporary Chinese court music, uncovers the deliberate portrayal of entertainment music features within this iconographic narrative.
Keywords:
Brahmans Playing Music; Cave Inscriptions in Dunhuang; Bezkilik Grottoes;
Chant of the Māyā
; Gandhara Art
73／刘沛东／从共鸣箱形态看新疆热瓦普乐器历史溯源问题
Liu Peidong／The Problem of Tracing the History of the Xinjiang Rewap Musical Instrument from the Form of the Sound Box
摘 要：
本文探讨了新疆热瓦普乐器的历史溯源问题，揭示热瓦普乐器在新疆多元文化格局中的丰富演变和发展历程。通过对新疆热瓦普乐器共鸣箱形态辨识，将其分为半球状共鸣箱、圆盘状共鸣箱和双共鸣箱三种形态，进而以共鸣箱形态寻根究底，从历史图像追溯热瓦普乐器的历史脉络，认为新疆热瓦普是中华文明、印度文明和两河文明交流融合的结晶。作为新疆民族乐器文化的代表，热瓦普一直处于动态的文化交流之中，不仅体现了新疆文化的多元性，而且凸显出新疆乐器内蕴的文化一体性。
关键词：
热瓦普；历史溯源；文明交流；龟兹石窟
Abstract:
This paper explores the historical origins of the Rewap musical instrument in Xinjiang, revealing its rich evolution and development within the multicultural context of the region. By examining the sound box of the Xinjiang Rewap musical instrument, it can be categorized into three forms: hemispherical sound box, disc sound box, and double sound box. By using the form of the sound box, this study traces the historical context of Rewap musical instruments through historical images. It is believed that the Xinjiang Rewap is the result of the exchange and integration of Chinese civilization, Indian civilization, and Mesopotamian civilization. As a representative of Xinjiang's national musical instrument culture, the Rewap has been part of dynamic cultural exchanges, reflecting the diversity of Xinjiang's culture and highlighting the inherent cultural unity of Xinjiang musical instruments.
Keywords:
Rewap; Historical Origin; Exchange of Civilizations; The Qiuci Grottoes
82／张杭琪／北齐胡乐文化内涵及其特征考探
Zhang Hangqi／On the Connotation and Characteristics of HuYue Culture in the Northern Qi Dynasty
摘 要：
北朝时期，鲜卑、龟兹等少数民族音乐和康国、安国等粟特地区的音乐，陆续传入中原，对当时的中原音乐文化产生了很大影响。彼时，北齐诸帝大多好胡乐，一时各地胡族乐人纷纷涌入，使得北齐社会弥漫着一股浓郁的“胡风”。在《隋书·音乐志》等文献史料中可见胡乐有“齐朝龟兹”的记载，然而北齐盛行的胡乐不只是“齐朝龟兹”，其文化内涵是非常复杂的，包括龟兹乐、粟特诸胡乐等，甚至还有中原音乐等多种音乐文化元素在内的融合体。
关键词：
北齐；胡乐；齐朝龟兹；乐人；乐舞图像
Abstract:
During the Northern Dynasties, the music of Xianbei, Qiuci, and other ethnic minorities, as well as the music from Sogdian areas such as Kangguo and Anguo, were introduced into the Central Plains, significantly influencing the music culture of the region at that time. Most emperors of the Northern Qi Dynasty had a strong appreciation for HuYue. Consequently, foreign musicians from various regions converged, infusing Northern Qi society with a pronounced "Hu style". Historical documents, such as the "
Sui Shu Music Annal
", mention the presence of "Qiuci in the Qi Dynasty". However, the popular HuYue in the Northern Qi Dynasty was not merely "Qiuci in the Qi Dynasty"; its cultural connotation was quite complex, encompassing Qiuci Music, Sogdian HuYue, and integrating numerous musical and cultural elements from Central Plains music.
Keywords:
Northern Qi Dynasty; HuYue; Qiuci in the Qi Dynasty; Musicians; Images of Music and Dance
Ethnomusicology and Traditional Music Theory
95／林
晨／缘声而现——“声音”视阈下的古琴指法“手势”
Lin Chen／Manifesting through Sound: The "Gestures" of Guqin Fingering from the Perspective of "Sound"
摘 要：
古琴指法“手势”的记录，散见于历代指法说明与指法手势图中，其传统自汉初见端倪，唐赵耶利修订为手势谱并绘制成图，至宋已臻成熟。之前学者从不同视角强调手势图的价值，并探讨指法“手势”对于美学、演奏、传承的诸多意义，但未有研究者自“声音”角度理解古琴指法“手势”。本文将以理解声音设计，学习“声音设计师”的聆听方式作为切入点，以听觉感知作为起点阐释“缘身而现”的“声音”，以及“缘声而现”的“手势”，进而从“声音”角度揭示古琴指法“手势”之重要性，并借此反思指法“手势”之于古琴传承、现代技术之于理解“声音”的意义。
关键词：
指法手势；蕴势；声音；古琴
Abstract:
The records of Guqin fingering "gestures" are scattered throughout various descriptions and illustrations of fingering techniques from different dynasties. Its tradition can be traced back to the early Han dynasty, with Tang dynasty musician Zhao Yeli revising and illustrating fingering scores, which reached maturity by the Song dynasty. Previous scholars have emphasized the value of these gesture diagrams from various perspectives and explored the aesthetic, performative, and transmissive significance of fingering "gestures." However, no research has yet understood Guqin fingering "gestures" from the perspective of "sound." This paper will use the understanding of sound design and the listening methods of "sound designers" as a starting point. It will explain the "sound" that manifests through physical movements and the "gestures" that manifest through sound, thereby revealing the importance of Guqin fingering "gestures" from the perspective of "sound." This approach will also reflect on the significance of fingering "gestures" in the transmission of Guqin and the role of modern technology in understanding "sound."
Keywords:
Fingering Gestures; Potential Energy; Sound; Guqin
107／邢
媛／回归本体——作为档案的乐器藏品研究
Xing Yuan／Returning to Ontology: A Study of Musical Instrument Collections as Archives
摘 要：
回归器物“本体”的乐器学研究，就是以“物（乐器）”为“文”。把乐器作为直接材料，从器物细节中考察制作特点，从乐器上保留的使用、修复痕迹，找寻历史音高信息，探究逝去的制作技艺、演奏技法，推断使用者的演奏习惯，回溯乐器的生命历程。这一过程则犹如翻开一份尘封的历史“档案”。本文围绕博物馆乐器藏品及策展过程中的“二度田野”考察，结合物质文化研究中的本体论转向（Ontological Turn），讨论人类学视域下回到乐器本身的发现，在物（乐器）与自然、环境、人在互动关系中反思乐器学研究中的人类中心主义，以期在“整体主义”立场上认识自然与文化、人类和非人类的关系。
关键词：
乐器学；本体；档案；乐器藏品
Abstract:
The study of Organology that returns to the "noumenon" of objects is to use "objects (musical instruments)" as "literature." Using musical instruments as direct materials, examining the production characteristics from the details of the objects, searching for historical pitch information from the retained usage and maintained vestiges on the instruments, exploring lost production and performance techniques, inferring the user's performance habits, and tracing the life course of the instruments. This process is akin to opening a dusty historical 'archive.' This article focuses on the "re-field" investigation of musical instrument collections and curation processes in the museum, combined with the ontological turn in material culture studies, to discuss the discovery of musical instruments themselves from an anthropological perspective. It reflects on anthropocentrism in instrumental research in the context of the interaction between objects (musical instruments) and nature, environment, and humans, to understand the relationship between nature and culture, humans and non-human beings from a holistic perspective.
Keywords:
Organology; Ontology; Archive; Musical Instrument Collections
117／林
颖／城市文化中的蒙古族民歌——流行化、艺术化与“原本化”
Lin Ying／Mongolian Folk Songs in Urban Culture: Popularization, Artistry, and "Elementalization"
摘 要：
从草原、蒙古包一路走进城市的蒙古族民歌，与城市音乐文化的“适应”中多元共融，形成多样的表演形态，并在蒙汉等民族聚居的城市中呈现出独有的城市文化生态。一是城市大众舞台上的集体狂欢：蒙古族民歌的流行化；二是城市专业教育下的审美趣味：蒙古族民歌的艺术化；三是城市艺术交融中的文化间性：蒙古族民歌的“原本化”（此概念借用卡尔·奥尔夫的“原本性”概念与理论）。三种表演样态都是两种以上文化的融合，融合之后的美可谓“横看成岭侧成峰，远近高低各不同”。流行化的民歌是美感与快感的双向奔赴；艺术化的民歌以专业之美在与高雅艺术“通约”的同时实现自身更大范围的流通；“原本化”的民歌在古朴之美上悬挂着精神向往与心灵归宿。
关键词：
城市文化；蒙古族民歌；流行化；艺术化；“原本化”
Abstract:
Mongolian folk songs, which originated from the grasslands and yurts, have diversified and integrated with urban music culture as they adapted to city life. This integration has led to the formation of various performance forms, creating a unique urban cultural ecology in cities inhabited by ethnic groups such as the Mongols and Han Chinese. Firstly, the collective revelry on the urban stage: the popularization of Mongolian folk songs; secondly, the aesthetic interest fostered by professional education in the city: the artisticization of Mongolian folk songs; thirdly, the interculturalism within urban art integration: the "elementalization" of Mongolian folk songs (a concept borrowed from Carl Orff's concept and theory of "Elementar" as discussed in the following article). All three performance styles represent the fusion of two or more cultures, showcasing the beauty of their integration, described as "different yet harmonious." Popularized folk songs embody a mutual pursuit of beauty and pleasure; artistic folk songs achieve wider circulation with professional refinement while "communicating" with the elegant arts; and "elementalized" folk songs reflect a spiritual yearning and connection to an ancient simplicity.
Keywords:
Urban Culture; Mongolian Folk Songs; Popularization; Artistry; Elementalization
127／卢
婷／圣俗同构——青藏高原东缘大小金川流域嘉绒“达尔尕”制度性表演的文化阐释
Lu Ting／Sacredness-Secularity Syncretism: A Cultural Interpretation of the Ritual Performance of Rgyalrong "Darga" in the Jinchuan River Basin on the Eastern Edge of the Qinghai-Tibet Plateau
摘 要：
“达尔尕”是青藏高原东缘大、小金川流域嘉绒藏族在人生仪礼、传统年节、法会祭典等特定时空场域下展开的仪式性歌舞。“达尔尕”受制于其赖以生存的人文生态系统，在信仰观念、社会制度、文化规则的影响下维持着极具制度性的表演模式。其中“信仰观念”是建构“达尔尕”制度性表演的核心要素。日常生活中“达尔尕”虽以“俗”的面相展现，但其精神内核却是超越世俗娱乐的对“圣”的追求。本文对“达尔尕”的制度性表演进行描述，并对其“圣俗同构”的文化属性做深入阐释。
关键词：
嘉绒；“达尔尕”；圣俗同构；制度性表演
Abstract:
"Darga" is a ritualistic song and dance performed by the Rgyalrong Tibetan people in the Jinchuan River basin on the eastern edge of the Qinghai-Tibet Plateau during specific temporal and spatial contexts, such as life rituals, traditional festivals, and religious ceremonies. The performance of Darga is deeply influenced by beliefs, social systems, and cultural norms within its socio-ecological system. Beliefs play a central role in constructing Darga ritual performances. Although Darga manifests itself with a "secular" face in daily life, its spiritual essence lies in the pursuit of the "Sacred" beyond mere entertainment. This paper describes the ritual performance of Darga and provides an in-depth explanation of its cultural attribute of "Sacredness-Secularity Syncretism".
Keywords:
Rgyalrong Tibetan; Darga; Sacredness-Secularity Syncretism; Ritual Performance
音乐教育与表演
Music Education and Performance
138／郭克俭／为“歌剧梦”而奔赴——新见张权“留美杂志”文献的释解与评价
Guo Kejian／Pursuing the "Opera Dream": Interpretation and Analysis of the Newly Discovered Valuable Documents from Zhang Quan's "Journal of Studying in the USA"
摘 要：
《留美杂志》是记录著名女歌唱家张权留美之初所见所闻、思想感悟和学习心得的系列文论，刊载于《综艺》半月刊“海外音乐通讯”栏目之第一卷，包括五个主题集中、内容丰实并短小精练的篇什。新发现的两篇《留美杂志》文献清晰地展现出张权浓厚的爱国情、真诚的感恩心和强烈的歌剧梦。张权克服常人难以想象的困难，远渡重洋赴美深造声乐与歌剧表演，完成了“在北美各地，演唱中国名歌，以宣传中国音乐”的艺术宏愿，实现了中国艺术家站在世界歌剧舞台的“歌剧梦”。
关键词：
《综艺》半月刊；海外音乐通讯；留美杂志；文献释解
Abstract:
The
Journal of Studying in the USA
is a series of essays documenting the renowned female singer Zhang Quan's observations, thoughts, and learning experiences during her initial stay in the United States. These essays were published in the "Overseas Music Correspondence" section of the first volume of the semi-monthly magazine
Variety
. The journal comprises five concise yet rich essays centred around specific themes. The newly discovered documents from the
Journal of Studying in the USA
clearly reveal Zhang Quan's deep patriotism, sincere gratitude, and strong opera aspirations. Overcoming unimaginable difficulties, Zhang Quan crossed the ocean to pursue advanced vocal and opera performance studies in the United States, fulfilling her artistic vision of "singing famous Chinese songs across North America to promote Chinese music" and achieving the "opera dream" of Chinese artists standing on the world's top opera stages.
Keywords:
Variety
Semi-monthly Magazine; Overseas Music Correspondence;
Journal of Studying in the USA
; Document Interpretation
147／王颖晖／以《追光者》原创性分析论音乐剧本土化过程
Wang Yinghui／Discuss the Localization Process of Musicals by Analyzing the Originality of
The Light Chaser
摘 要：
本文集中分析原创音乐剧《追光者》的创作特征，并以此探讨中国音乐剧本土化的一般特征。该剧通过红色题材的创新呈现，以中国声音讲述中国故事，成功吸引了观众并获得了市场认可。其艺术特点主要体现在作品创作的歌曲旋律易于理解、音乐结构简洁明了、故事文本脉络清晰，舞台表演形式多样。该剧在创作过程中重视中国故事的讲述、中国声音的表达以及创作机制的创新，客观证明了市场对于本土原创音乐剧的接受度。
关键词：
原创音乐剧；音乐剧本土化；红色题材
Abstract:
This paper focuses on analyzing the creative characteristics of the original musical
The Light Chaser
and discusses the general characteristics of the localization of Chinese musicals. Through its innovative presentation of a revolutionary theme, the musical narrates Chinese tales in a distinctly Chinese manner, successfully attracting audiences and gaining market recognition. Its artistic characteristics are mainly reflected in its easily understandable melody, concise musical structure, clear storyline, and diverse stage performance forms. During the creation process, the musical emphasizes representing Chinese tales, expressing a Chinese perspective, and innovating creative mechanisms, objectively proving the market reception of locally original musicals.
Keywords:
Original Musical; Musical Localization; Revolutionary Theme
153／夏侯晓昱／不断“跨界” 不离其“宗”——谢嘉幸音乐教育学微观学术史研究
Xiahou Xiaoyu／Continuously "Crossing Borders" While Remaining True to the "Core": A Microscopic Academic History Research on Xie Jiaxing's Music Education
摘 要：
学科与专业究竟是什么关系？这一直是引发学术界不断探索与争鸣的话题。随着《研究生教育学科专业目录（2022年）》的发布，这一话题在音乐界再次引起热烈的讨论。本文以在音乐教育学领域深耕30余年的资深学者谢嘉幸的微观学术史剖析为切入点，试图阐明任何知识体系与方法的“学科”，都是为特定实践与人才培养的“专业”服务，随着特定专业实践及其人才培养需求的发展，学科知识体系与方法的“跨界”也必然且无法回避。始终以培养“人”、关注“人”为根本目的的音乐教育学尤为如此。不断“跨界”，不离其“宗”，谢嘉幸音乐教育学微观学术史为我们认识这一点，提供了不可多得的案例。
关键词：
谢嘉幸；音乐教育学；微观学术史；学科；专业
Abstract:
What is the relationship between disciplines and majors? This has always been a topic that has triggered continuous exploration and debate in the academic community. With the publication of the
Directory of Disciplines and Majors for Postgraduate Education (2022)
, this topic has once again sparked heated discussions in the music community. This article takes the micro-academic history analysis of Xie Jiaxing, a senior scholar who has been deeply engaged in the field of music education for more than 30 years, as the starting point, and attempts to clarify that any "discipline" of knowledge system and method serves the "major" of specific practice and talent cultivation. With the development of specific professional practices and their talent cultivation needs, the "cross-border" nature of disciplinary knowledge systems and methods is inevitable. This is especially true for music education, which always aims at cultivating and focusing on "human beings." Constantly "crossing borders" while staying true to its "roots," the micro-academic history of Xie Jiaxing's music education provides a rare case for us to understand this point.
Keywords:
Xie Jiaxing; Music Education; Microscopic Academic History; Discipline; Major
作曲理论与作品分析
Composition Theory and Work Analysis
163／杨晓蕾／台湾地区当代音乐创作中传统北管音乐元素的实践应用
Yang Xiaolei／The Practical Application of Traditional Bei-guan Music Elements in the Contemporary Music Creation of Taiwan District
摘 要：
台湾地区传统北管音乐始终受到作曲家的高度重视，因此，以北管音乐为创作素材的作品为数可观。可以说，经过台湾第一代至第四代作曲家的创作实践，已有相当丰硕的成果。因而本论题将立足于音乐作品实践的总结认知，对台湾地区传统北管音乐进行音乐语法的分析，进而对当代音乐“北管化”创作实践的运用语法作全面性的观察。
关键词：
台湾地区北管；北管音乐元素；当代音乐创作
Abstract:
The traditional Bei-guan music in Taiwan district has always been highly valued by composers, and there had been many musical works using Bei-guan music as creative source material. Through the creative practice from the first to the fourth generation of composers in Taiwan, there has been a very fruitful result. Therefore, the topic of this dissertation will based on the summary and cognition of musical work practice to analyze the musical syntax of traditional Bei-guan music that has the widest coverage in Taiwan, following with a comprehensive observation of the applied syntax's creative practice in "Beiguanization" of Taiwan's contemporary music.
Keywords:
Bei-guan in Taiwan; Bei-guan Music Elements; Contemporary Music Creation
176／曾凯强／中正平和 清微淡远——贾国平《雪江归棹》的形态观照与创作观念
Zeng Kaiqiang／Balanced Harmony and Subtle and Far-reaching Elegance: Formal Observation and Creative Concept of Jia Guoping's
A Returned Boat in the Snow River
摘 要：
贾国平的民族室内乐《雪江归棹》创作于2013年，展现了中正平和、清微淡远的中国传统美学意境。音乐通过动静虚实的自然声景构建、情景交融的渐变形态、基于民乐音响文化属性中的合而为一与取自然之象表达自我之意和归于本真的精神塑造，成功地体现了音乐形态与音乐观念的和谐统一。
关键词：
《雪江归棹》；自然声景；渐变；民乐合奏；精神塑造
Abstract:
Jia Guoping's Chinese ensemble piece
A Returned Boat in the Snow River
, created in 2013, demonstrates the artistic conceptions of balanced harmony and subtle and far-reaching elegance in traditional Chinese aesthetics. Rooted in integrating the vocal culture of national music and the spiritual creation of expressing oneself with natural phenomena and returning to authenticity, the music successfully embodies the harmonious unity of musical patterns and concepts. This is achieved through constructing natural soundscapes with dynamic and static, real and imaginary elements, and the gradual transformation of patterns combining sentiment and scenery.
Keywords:
A Returned Boat in the Snow River
; Natural Soundscape; Gradual Transformation; Ensemble of National Music; Spiritual Creation
184／叶
檬
石
磊／以阴阳为核，融书法写意——周文中《草书》变调式运用探析
Ye Meng, Shi Lei／Integrating Calligraphy and Writing Around the Core Concept of Yin and Yang: An Analysis of the Use of Variable Modes in
Cursive Script
by Chou Wenchung
摘 要：
周文中先生以易经文化中的阴阳原理构建8种基础调式，以卦象不断“变化”的现象构建调式配套手法，以书法艺术中的行书运笔构建调式形态。本文以作品《草书》为例，一方面将变调式构建草图与卦象推演过程相结合，进一步推敲变调式的构建思路，另一方面结合作品中的调式布局，以卦象所衍生的三种转换关系阐述变调式运用的配套现象及其融入“书法语言”的运用特征。
关键词：
周文中；阴阳原理；八卦；变调式；书法艺术
Abstract:
Chou Wenchung constructs eight basic modes based on the principles of Yin and Yang in the culture of the I Ching. He uses the phenomenon of continuous "changes" in the hexagrams to create combinatorial techniques for the modes and employs brushwork in calligraphy art to construct the forms of the modes. This paper takes the work
Cursive Script
as an example. On one hand, it combines the construction process of the variant modes with the deduction of hexagrams, further exploring the ideas behind the construction of variant modes. On the other hand, it analyzes the layout of the modes in the work and elucidates the combinatorial phenomena of the application of variant modes based on the three transformational relationships derived from the hexagrams, as well as their integration with the language of calligraphy.
Keywords:
Chou Wenchung; Yin-Yang Principle; Eight Trigrams; Variable Modes; Calligraphic Art
