“第五届音乐学硕博研究生优秀学位论文评选”
获奖博士论文专刊
目 次
音乐教育
Music Education
5／杨银波／民间音乐教育学的概念内涵与结构层次
Yang Yinbo／The Conceptual Connotation and Structural Hierarchy of Folk Music Pedagogy
摘 要：
民间音乐教育学是与特定文化环境中历史悠久的活态音乐相关联，以思维观念、口头语言、行为习惯等方式存在的，有关教育的认知观念、价值目标、制度方法、实践行为、评价标准等一系列隐性或显性的知识体系，是该音乐类型在长期的传承实践中沉积凝结而成的观念与行为的集合体。民间音乐教育学的概念包含了微观个人知识范畴的“音乐+民间教育学”，中观地方性知识范畴的“民间音乐+教育学”，宏观超地方、超乐种层面的“民间+音乐教育学”三个意义维度，这三个意义维度分别对应着乐人教育学、乐种教育学、乐群教育学三个层次的教育学知识。三个意义维度、三个知识层次共同建构了民间音乐教育学的概念内涵与结构层次。
关键词：
民间音乐教育学；理论基础；概念内涵；结构层次
Abstract:
Folk music pedagogy is a series of implicit or explicit knowledge systems about education, such as cognitive concepts, value objectives, institutional methods, practical behaviors, evaluation standards, etc., which exist in the form of conscious thinking, oral language or behavioral habits contained in the historical practice of living music inheritance. It is also a collection of concepts and behaviors deposited and condensed in the long-term inheritance practice of this music genre. Folk music pedagogy contains three dimensions of meaning. The first dimension is the "folk pedagogy" of "music", which belongs to the category of personal knowledge. The second dimension is the "pedagogy" of "folk music", which belongs to the category of local knowledge. The third dimension is "music pedagogy" of "folk", which is a macroscopic knowledge category of beyond music categories and beyond locality. These three dimensions of meaning correspond to the three structural levels of folk music pedagogy they are the pedagogy of music practitioners, the pedagogy of specific types of music, and the pedagogy of several types of music. The three dimensions of meaning and three levels of knowledge jointly construct the conceptual connotations and structural hierarchy of folk music pedagogy.
Keywords:
Folk Music Pedagogy; Theoretical Basis; Conceptual Connotation; Structural Hierarchy
20／赵 苏／乐感的心理实质及其培养路径的探索
Zhao Su／The Psychological Nature of Musicality and Pathways for Its Cultivation
摘 要：
本研究围绕“乐感是什么”及“如何培养乐感”两个问题展开。首先，本文将乐感定义为“与实现音乐审美活动目的相关的感性能力”，包含“听觉”“听知觉”“音乐审美期待”“联觉”“注意”五个心理要素。“听觉”是乐感发生的基础，“听知觉”将音乐中的声音信息组织为可被把握的音响结构，“音乐审美期待”反映了主体过去的审美经验及其对音乐的审美心理要求，“联觉”是音乐表现和理解的心理基础，“注意”保障了以上要素在音乐活动中充分发挥应有的作用。其次，在乐感理论研究的基础上，笔者对乐感的教育路径进行了探索。在“乐感训练”课程的教学实践中，逐步明确乐感教育的性质、目标和方法，在一定程度上构建了乐感教学的理论基础，为未来的乐感理论研究与教学研究提供了可资借鉴的方向与路径。
关键词：
乐感；听觉；听知觉；音乐审美期待；联觉；注意；乐感培养
Abstract:
This study addresses two core questions: "What is musicality?" and "How can musicality be cultivated?" First, musicality is defined in this paper as "the perceptual ability required to achieve the objectives of musical aesthetic activities." The development of musicality is underpinned by several key psychological mechanisms. "Hearing" provides the foundational basis for the emergence of musicality, while "auditory perception" enables the organization of sound information into coherent and comprehensible musical structures. "Music aesthetic expectation" reflects an individual's prior aesthetic experiences and their anticipated aesthetic goals in relation to music. "Synesthesia" forms the psychological framework that facilitates the performance and understanding of music. "Attention" ensures the effective operation of these elements, enabling their full functionality in musical activities. Second, based on theoretical investigations into the nature of musicality, the study explores practical educational approaches for its cultivation. Through the implementation of the
Musicality
Training
course, the author has clarified the nature, objectives, tasks, and teaching methods of musicality education. This effort has laid a theoretical foundation for the pedagogy of musicality, offering valuable insights and methodologies for future research and teaching practices in this field.
Keywords:
Musicality; Hearing; Auditory Perception; Music Aesthetic Expectation; Synesthesia; Attention; Cultivation of Musicality
34／郑依萌／实证主义与解释主义的交汇处——国际音乐教育核心期刊研究（2001—2020）
Zheng Yimeng／The Intersection of Positivism and Interpretivism in Music Education: A Study of International SSCI and AHCI Journals (2001-2020)
摘 要：
我国的音乐教育研究大多仅关注教学方法，并以是否“科学”作为唯一评价标准，却常常忽略其背后不可或缺的范式依据及其文化语境。为破解这一难题，本研究选取了21世纪以来国际音乐教育领域的四本核心期刊作为研究对象，从两个重要且相互交织的哲学范式——实证主义与解释主义的视角出发，通过数据分析、深度阅读以及半结构式访谈等方法，剖析这些期刊论文的研究方向、方法及其成果，展示了两种范式交融混合的独特景象，并渐及范式背后的文化比较，为发展适应实践需求的音乐教育研究提供有益的借鉴。
关键词：
实证主义；解释主义；研究范式；国际音乐教育期刊；比较教育研究
Abstract:
Music education research in China has predominantly focused on teaching methods, often evaluating their effectiveness solely based on "scientific" standards, while frequently overlooking the essential paradigmatic foundations and cultural contexts that underpin such research. To address this gap, this study examines four core international journals in the field of music education published in the 21st century. By adopting perspectives from two significant and intertwined philosophical paradigms — positivism and interpretivism — and employing methods such as data analysis, in-depth reading, and semi-structured interviews, the study explores the research orientations, methodologies, and findings of these journal articles. It reveals a distinctive blend of these paradigms, along with the cultural comparisons underlying them, providing valuable insights for the development of music education research that aligns with practical needs.
Keywords:
Positivism; Interpretivism; Research Paradigm; International Music Education Journals; Comparative Education Research
中国音乐史学
Chinese Music Historiography
Jia Bonan／Research on the Arrangement of YueXuan in Zhao Guo During the Pre-Qin Period
摘 要：
赵国作为战国七雄之一，其军事、国力冠绝一时，但代表上层音乐文化核心的乐悬却鲜为人知。摆放上，赵国乐悬方位较为规整，均放置在墓主人脚下，体现了乐悬的地位。数量上，只有编镈出现了大规模的僭越，从音域、数量、调音锉磨手法都做了大胆的突破。相反，多数甬钟、纽钟、编磬数量不仅没有突破，与其他地区相比反而保守。组合上，呈现出多样性特点，未出现统一的态势，但均为“金石”模式；大型组合乐悬在春秋晚期到春秋战国之交到达顶峰，之后迅速衰落。赵国乐悬在早期有所突破，晚期快速衰落，虽无统一规范，但也有一定的标准。这种乐悬较早衰落的情况在东周时期较为少见。
关键词：
编列；乐器摆放；乐悬规模；器乐组合
Abstract:
As one of the seven great powers during the Warring States Period, the State of Zhao was renowned for its military strength and national influence, yet its music culture, represented by the Yuexuan, remains relatively obscure. This study examines the arrangement and characteristics of Yuexuan from three perspectives: instrument placement, quantity, and combination.In terms of placement, musical instruments in Zhao tombs were consistently arranged at the feet of the tomb owner, reflecting the status of Yuexuan in ritual contexts. Regarding quantity,
Bo bells
were notable for their bold innovations in range, quantity, and tuning techniques, while Yong bells, Niu bells, and braided chimes remained conservative compared to those in other regions. In terms of combination, Yuexuan exhibited diverse characteristics with no unified trend but adhered to the "gold and stone" mode. The large-scale combinations of Yuexuan instruments reached their peak during the late Spring and Autumn Period and the transitional phase to the Warring States Period, followed by a rapid decline.Despite its early breakthroughs and subsequent decline, the Yuexuan of Zhao displayed a certain degree of standardization, albeit without a unified system. Such early declines in Yuexuan practices were rare in the Eastern Zhou Dynasty, marking Zhao's music culture as a distinctive case in ancient Chinese history.
Keywords:
Listing; Instrument Placement; Yuexuan Scale; Instrumental Composition
Bai Jiahuan／Between "Sentiment and Ritual": A Study on the Rituals and Music of the Jiajing Reign in the Ming Dynasty
摘 要：
明世宗嘉靖四十余年的礼乐实践，对明中后期礼乐、乐学的发展产生了深远影响，构筑了明清国家礼仪用乐的主体框架。此间，“情”与“礼”历经人情与礼法、治统与道统、国家与地方、雅与俗的多维塑造，在互动中实现融合。在“情礼”多向互动中，嘉靖礼乐展现从冲突到调和、最终融合的阶段性特点。本文提炼并引入“情礼”视角，旨在探究明中后期礼乐发展中礼法与现实政治的矛盾，揭示古代礼乐变革的内在动力与深层内涵，为中国礼乐话语体系提供解读新视角。
关键词：
嘉靖；礼乐；大礼议；情礼
Abstract:
The more than 40 years of ritual and music practices during the reign of Emperor Shizong (Jiajing) of the Ming Dynasty had a profound impact on the development of rituals and musicology in the middle and late Ming Dynasty, shaping the main framework of ritual music for state ceremonies in the Ming and Qing Dynasties. During this period, the concepts of "sentiment" and "ritual" underwent multi-dimensional shaping, including the interplay between human sentiment and ritual law, the rule of governance and the Confucian orthodoxy, the state and localities, as well as elegance and folk, ultimately achieving fusion through interaction. In the multi-directional interaction between "sentiment" and "ritual", the Jiajing rituals and music demonstrated staged characteristics, evolving from conflict to reconciliation and ultimately fusion. By refining and introducing the perspective of "sentiment and ritual," this paper aims to explore the contradictions between ritual law and practical politics in the development of rituals and music in the middle and late Ming Dynasty, reveal the internal driving forces and deep connotations of ancient ritual and music reforms, and provide a new perspective for interpreting the discourse system of Chinese rituals and music.
Keywords:
Jiajing; Rituals and Music; Great Ritual Debate; Sentiment and Ritual
78／董郑峰／官乐民存——以上党现存四十余本赛社古钞本中的音乐史料为中心
Dong Zhengfeng／Official Music in Folk Traditions: An Analysis Based on Over 40 Editions of Shangdang Saishe Codices
摘 要：
官乐民存即历史上的官方用乐部分积淀并存在于民间的现象。官乐民存与官存民乐本互为辩证关系，但在国家礼、俗用乐制度下，民间各地存见的具有“高文化”属性的传统音乐活态，很大一部分是官属职业乐人创承并运用于民众礼俗社会的结果。尤其是乐籍制度解体后，这种官乐下移、积淀并衍生于民间的现象更为彰显。本文以上党发现的四十余本晚明至民国间赛社钞本中载录的传统音乐史料为中心，结合上党赛社当下活态承载的祭仪与伎乐，对乐籍制度解体前后上党传统音乐的承继与衍变情状进行一定的理论分析与阐释。
关键词：
官乐民存；上党赛社；赛社钞本；乐户；乐籍制度；文化下移
Abstract:
The phenomenon of "official music for the folk" reflected the historical accumulation and continued existence of official music within folk traditions. The dialectical relationship between official music embedded in folk traditions and folk music influencing official traditions revealed complex interactions within China's musical history. Under the national system of ritual and casual music, traditional music with attributes of "high culture" found in folk settings often emerged from the creations and applications of professional court musicians within public ceremonies and local customs. This phenomenon became particularly prominent following the dissolution of the "Yue Ji" system, leading to the downward mobility, accumulation, and evolution of official music within folk contexts. This study examined over 40 Shangdang Saishe codices, dating from the late Ming Dynasty to the Republic of China, alongside contemporary rituals and dance music practices in Shangdang. By combining historical records with present-day living traditions, it provided a theoretical analysis of the inheritance and evolution of Shangdang's traditional music before and after the dissolution of the "Yue Ji" system.
Keywords:
Official Music in Folk Traditions; Shangdang Saishe; Saishe Codex; Registered Musician Households; "Yue Ji" System; Cultural Downshift
Ethnomusicology and Traditional Music Theory
98／梁 怡／从线下到线上——贵州三地花灯歌舞音乐表演的媒介转换与消费变迁
Liang Yi／From Offline to Online: Media Transformation and Changing Audiences for Huadeng Song and Dance Performances in Three Regions of Guizhou
摘 要：
花灯歌舞音乐原是庆贺新春的年节表演，但自20世纪70年代末以来在贵州遵义和金沙、息烽及周边地区却呈现出常年性的表演样态且活跃度极高。目前，随着快手和抖音等手机应用程序的迅速崛起，加之2019—2022年因新冠疫情采取的防控措施因素，促使这一带花灯歌舞音乐的“云端”分享成为其表演与传播的新常态，由此构成民俗传统的两次文化转型。笔者通过实地考察与线上参与后发现，该区域花灯歌舞音乐在线下与线上均展现出“集体参与”和“全民狂欢”的生存样态。而由于媒介转换引发的音乐消费变迁，既为表演者带来了较为可观的经济收益，也为此类传统音乐的可持续发展注入了新的文化动力。
关键词：
花灯歌舞音乐；短视频与直播；媒介转换；音乐消费
Abstract:
Originally performed during the Spring Festival, Huadeng song and dance music evolved into a year-round performance tradition in the late 1970s, particularly in Zunyi, Jinsha, Xifeng, and surrounding areas in Guizhou. In recent years, the growing popularity of platforms such as Kuaishou and Douyin, coupled with the COVID-19 lockdown policies from 2019 to 2022, facilitated the online sharing and dissemination of Huadeng song and dance performances. This shift led to significant cultural transformations within these folk traditions.Fieldwork and online participation revealed that Huadeng music activities fostered collective participation and widespread celebration in both offline and online settings. The transformation in media consumption not only generated economic opportunities for performers but also introduced new cultural momentum, ensuring the sustainable development of this traditional art form. This case study highlighted the dynamic interplay between digital media and traditional music, offering insights into the evolving relationship between cultural heritage and modern technology.
Keywords:
Huadeng Song and Dance Music; Video Clips and Live Broadcast; Media Transformation; Music Consumption
113／杨声军／湘桂边界平地瑶“还愿”仪式声音景观的建构与认同
Yang Shengjun／The Construction and Identity of the Pingdi Yao's "Huanyuan" Ritual Soundscape on the Hunan-Guangxi Border
摘 要：
本文通过对平地瑶“还愿”仪式声音景观构建的描述与文化阐释，对平地瑶历史、社会、文化之间的深层次逻辑关系予以观照，得出平地瑶“还愿”仪式声音景观是过山瑶音乐文化“濡化”以及族群互动视域下音乐文化“涵化”的结果。同时，平地瑶地方的“小传统”与国家的“大传统”呈现出一致性与差异性的双重特点，经过“大传统”与“小传统”的双向互动建构，形成了以血缘为基础，以地缘为纽带，最终形成了以文化交融为桥梁的三维认同格局。
关键词：
平地瑶；“还愿”仪式；声音景观；文化建构；认同
Abstract:
This article provides a cultural interpretation of the construction of the soundscape in the "Huanyuan" ritual of the Pingdi Yao people, examining the profound interconnections between their history, society, and culture. The study concludes that the soundscape of the "Huanyuan" ritual results from the "acculturation" of the Guoshan Yao's musical traditions and the "enculturation" of musical influences arising from ethnic interactions. Additionally, the interplay between the "little traditions" of the Pingdi Yao's local context and the "great traditions" of the nation demonstrates both consistency and divergence. Through the bidirectional interaction and construction of these traditions, the Pingdi Yao have formed a multi-dimensional identity framework rooted in kinship, geographical ties, and ultimately, cultural integration. This research sheds light on the ways in which soundscapes mediate identity construction in ethnically diverse contexts.
Keywords:
Pingdi Yao; "Huanyuan" Ritual; Soundscape; Cultural Construction; Identity
128／扎西东珠／从概念出发到概念结束——论藏族传统民歌的主位分类
Zhaxi Dongzhu／Exploring Emic Perspectives: The Conceptual Classification of Tibetan Folk Songs
摘 要：
对于藏族传统民歌的分类及相关概念，国内外音乐学界均做出过解读与判断。笔者经文献梳理及田野调查发现，无论是学者抑或是民间音乐持有者，对藏族传统民歌主位分类概念均无统一的认知。本文聚焦与民歌唱词密切关联的诗歌体结构，借鉴音乐人类学相关分类理论，以归纳和演绎法展开分析，提出藏族传统民歌主位分类概念的核心与“鲁”和“谐”两种古代诗歌体密切相关。
关键词：
藏族传统民歌；归纳与演绎；本土分类；主位概念；诗歌体
Abstract:
The classification and related concepts of Tibetan folk songs have been extensively discussed and interpreted by both domestic and international music scholars. However, a comprehensive literature review and field investigations reveal that neither scholars nor folk music practitioners have reached a unified understanding of the emic classification concept of Tibetan traditional folk songs. This study examines the intricate relationship between the poetic structure of folk song lyrics and their classification. Drawing on relevant ethnomusicological classification theories and employing both inductive and deductive analytical methods, this paper identifies the core of the emic classification concept as being closely associated with the two ancient poetic styles of "Glu" and "Gzhas."
Keywords:
Tibetan Traditional Folk Songs; Induction and Deduction; Native Classification; Emic Concept; Poetry Forms
作曲理论研究
Composition Theory
143／俞卫娜／高为杰音乐作品中的支声技法研究
Yu Weina／Research on the Heterophony Techniques in Gao Weijie's Music Works
摘 要：
在我国当代音乐创作中，作曲家对支声的运用，既继承传统又打破传统，也与现代作曲技法结合而衍生出“新型”支声技法。这种支声技法不仅体现在具体作品的运用上，而且对作曲家的创作理念也有塑造作用。如今，具有支声特点的作品在当代作曲家的创作中不在少数，而高为杰的支声运用尤为独特，既有基本的支声类型，也有支声性的综合织体。此外，作曲家高为杰亦将支声与他偏爱的或独创的技法紧密结合，使作品中的支声织体成为独一无二的现象。
关键词：
高为杰；“点”的支声；数控支声；同步式支声；音色点描式支声
Abstract:
In the realm of Chinese contemporary music, composers often inherit and reinterpret tradition by incorporating heterophony, which is further integrated with modern compositional techniques. This fusion gives rise to what can be termed as "new" heterophony techniques. These techniques are not only evident in the application to specific works but also play a significant role in shaping the composer's creative concepts. In recent years, heterophony has become a recurring feature in contemporary compositions, with Gao Weijie's use of heterophony standing out for its distinctiveness. His works demonstrate the application of basic heterophonic types, as well as the techniques of splitting and combining heterophony. Furthermore, Gao integrates heterophony with his signature or innovative compositional methods, resulting in uniquely textured heterophonic layers in his music.
Keywords:
Gao Weijie; "Point" Heterophony; Numerical Control Heterophony; Synchronous Heterophony; Orchestration Timbre Embellishment Heterophony
162／黄 玥／内涵·溯源·途径——瓦雷兹的音响噪音化声音观念及其创作实践研究
Huang Yue／Connotation, Source, and Approach: Exploring Varèse's Sound Concept of Sound Noisification and Its Creative Practice
摘 要：
埃德加·瓦雷兹是20世纪最重要的西方先锋作曲家之一。他在音响噪音化方面的实践对现代音乐创作产生了重大影响，在声音观念从传统走向现代方面产生了积极的推动作用。本文拟从内涵、溯源和途径三方面，对其进行一次整体、系统的研究，希望进一步强化对瓦雷兹在推动现代音乐创作上所作贡献的认知，并从中吸取促进我国当代音乐创作发展的有益经验。
关键词：
瓦雷兹；音响噪音化；声音观念；内涵；溯源；途径
Abstract:
Edgard Varèse, a pivotal composer in 20th-century Western avant-garde music, made practices in the field of sound noisification, profoundly influencing modern musical creation. His practices facilitated a transformative shift in the concept of sound, bridging the differences between traditional and modern sound concepts. This paper conducts a comprehensive and systematic research on Varèse's sound noisification from three perspectives: the core connotation of sound noisification, its historical origins, and the approaches to its realization. The study aims to underscore Varèse's crucial role in advancing modern musical creation and to draw insights from his practices to inspire contemporary music creation in China.
Keywords:
Varèse; Sound Noisification; Sound Concept; Connotation; Historical Origins; Approaches
176／闵 讷／斯克里亚宾《普罗米修斯》音响色彩研究
Min Ne／A Study on Sound Color in Scriabin's
Prometheus
摘 要：
色彩表现作为浪漫主义时期音乐风格中的一个重要维度，不仅牵涉到管弦乐配器的三大方面，即和声、音色—音响与织体形态，还承载着作曲家的创作内容与观念表达。斯克里亚宾在最后一部交响诗《普罗米修斯》中非常有意识地强调色彩因素，甚至将色彩通感作为音乐中的重要结构手段，具体通过主题材料、和声音组以及整体结构等元素的逻辑构建，让作品以象征的方式隐喻本体结构特征并阐发文本寓意，从而在形式与意义的相互契合中体现出音乐语言的深层次哲理内涵。
关键词：
斯克里亚宾；交响诗；《普罗米修斯》；配器色彩；音色通感
Abstract:
Color representation, as a significant dimension in the musical style of the Romantic period, involves not only the three major aspects of orchestral instrumentation—harmony, timbre-sound, and texture form—but also carries the composer's creative content and conceptual expression. Scriabin, in his last symphonic poem Prometheus, consciously emphasizes the element of color, even employing synesthesia as an important structural device in music. This is achieved through the logical construction of thematic material, harmonies, and overall structure, allowing the work to metaphorically symbolize its structural characteristics and elucidate textual implications in a symbolic manner. Consequently, the deep philosophical connotations of musical language are reflected in the mutual fit of form and meaning.rough the logical construction of thematic material, harmonies, and overall structure, allowing the work to metaphorically symbolize its structural characteristics and elucidate textual implications in a symbolic manner. Consequently, the deep philosophical connotations of musical language are reflected in the mutual fit of form and meaning.
Keywords:
Scriabin; Symphonic Poem;
Prometheus
; Orchestral Coloration; Timbral Synesthesia
音乐表演
Musical Performance
193／刘文佳／“颠覆”的民间性——秦文琛筝乐作品演奏研究
Liu Wenjia／Exploring the Folk Elements of "Subversion": A Study on the Performance of Qin Wenchen's Zheng Works
摘 要：
本文以作曲家秦文琛20世纪90年代初至今创作的16首筝乐作品为研究对象，从新音色、音高组织关系、节奏特征、音乐结构几个方面，研究与秦文琛筝乐创作特色相契合的演奏思路、演奏方法，着重对常规演奏训练中较少提及的思路和方法进行解读，进而对当代筝乐演奏技术体系、创作与表演的关系、筝乐表演艺术与中国传统音乐文化的关系进行反思。
关键词：
秦文琛；当代筝乐；筝乐演奏；颠覆性；民间性
Abstract:
This study examines the performance of 16 Zheng music works composed by Qin Wenchen from the early 1990s to the present. It analyzes performance concepts and methods that align with the distinctive characteristics of Qin Wenchen's Zheng compositions, focusing on aspects such as new timbre, pitch organization, rhythmic features, and musical structure. Special attention is given to performance approaches that are less commonly addressed in traditional performance training. Furthermore, the study reflects on the contemporary system of Zheng performance techniques, the interplay between composition and performance, and the relationship between Zheng music performance art and traditional Chinese musical culture.
Keywords:
Qin Wenchen; Contemporary Zheng Music; Zheng Music Performance; Subversiveness; Folk Elements
