宣传贯彻党的二十大精神笔会专栏
对峙树德树东说念主 99bt工厂地址 办东说念主民悠然高级音乐培育 关 健
突显自身办学特色 呼应国度文化策略 杨燕迪
对峙东说念主才培养现代化 助力达成中国式现代化 刘东兴
对峙东说念主民至上 谱写时间篇章 张 磊
“中国式现代化”释读 王 岩
国乐传承红色经典 念念政谱写时间乐章 索 帅
把捏培育矫正重要点 鞭策高级音乐培育高质地发展 马晓春
以党的二十大精神为引导 始创哈音筹商生培育新地点 贲 利
对峙研创演协同发展 奋进文艺光泽新时间 崔剑峰
学习党的二十大精神 推动学院国应答流妥洽 王 辉
探花在线
俄罗斯音乐筹商
拉赫玛尼诺夫音乐中的“钟声预料”
——谨以此文记挂拉赫玛尼诺夫寿辰150周年
孙兆润
摘 要：比拟19世纪很多俄罗斯作曲家，谢尔盖·拉赫玛尼诺夫对钟声入乐的酣醉更为强横，这源于作曲家少小和少年时分手脚“钟乐巨擘赏识家”的祖母的引颈和对教堂钟声深刻的赏听体验以及对故国深千里的爱恋。拉赫玛尼诺夫音乐中的“钟声预料”如故被俄罗斯学者浅显体恤并判辨。著作东旨不在于对其音乐中的“钟声预料”进行全面深入的时候分析，旨在以管窥豹，教导评释者和筹商者能在教学、上演现实和学术行为中体恤拉赫玛尼诺夫音乐中显性或者藏隐在谱面下的这一要紧的预料特征。
重要词：拉赫玛尼诺夫；音乐；“钟声预料”
作家简介：孙兆润（1972— ），男，音乐艺术博士，哈尔滨音乐学院副西席（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 adolescence， but 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 music， but to suggest that performers and researchers to pay attention on this significant imaginative feature which either explicit or indirect in the score in their teaching， performance practice and research.
Key words： Sergei Rachmaninoff； music； Bell Imagination
论穆索尔斯基对“新调性”时候的探索过甚调式作风化走漏特征
王玉聪
摘 要：就俄罗斯作曲家穆索尔斯基所处的时间而言，他的和声言语是新颖的，有些技法以致是超前的，其中，以调式调性方面的行使性情最为显赫。著作阐述穆索尔斯基的创作中，在固守调性身分的前提下，所使用的一些新的调性写稿形式为筹商对象，重心对作曲家在泛当然音主义、不绝音性调性、双调性等三种写稿技法的现实探索，以及这些技法在行使历程中走漏出来的调式作风化特征进行了较为深奥且深入地分析和筹商。这关于合理地解读和传播作曲家过甚作品具有热切的赞成作用，并对我国现代民族调式作风的音乐创作有一定的模仿价值。
重要词：穆索尔斯基；泛当然音主义；不绝音性调性；双调性；调式作风化
作家简介：王玉聪（1983— ），男，艺术学博士，星海音乐学院音乐基础部作曲时候表面讲师（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 period， even some of his technique was ahead， what 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 tonality， and which especially focus on the practice of pan-naturalism， pedal-point tonality， bitonality and the other three techniques， the article analysis the stylization of the tonal characteristics emerged which upon his new technique in his works.
Key words： Mussorgsky； pan-naturalism； pedal-point tonalit； bitonality； stylization of modes
也曾的光泽：一部有价值的寓沪俄罗斯流一火音乐家行为的专著
宫宏宇
摘 要：好意思国夏威夷大学出书社在2020年9月出书的《俄罗斯翻脸东说念主口的社群关系蚁合：战时上海的俄罗斯音乐家过甚音乐行为》（Networking the Russian Diaspora： Russian Musicians and Musical Activities in Interwar Shanghai），该书以两次寰宇大战期间流荡到上海的俄国音乐家为焦点，利用中、俄、英等多种言语档案、报刊贵府、音乐会节目单及近期国表里关联筹商，胪陈了战时俄罗斯流一火音乐家在上海的音乐行为，过甚对上海音乐生存的影响。该书详备地展示了这些流一火音乐家为我方的社团所作念的职责，揭示了他们若何利用音乐与其他国外移民社团及上海华东说念主社团建筑关系蚁合，突显了寓沪俄罗斯流一火音乐家对近代中国音乐发展弗成灭绝的要紧及长远的影响。
重要词：俄罗斯翻脸东说念主口；工部局乐队；上海音专；都尔品；阿甫夏洛穆夫
作家简介：宫宏宇（1963— ），男，形而上学博士，华中师范大学音乐学院高端异邦群众技俩首席筹商员，新西兰国立理工学院（Te Pūkenga）筹商员（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 specialists， Networking 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 diaspora， cultural identity， and 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 Diaspora； Municipal Orchestra； Shanghai Conservatory of Music； Tcherepnin； Avshalomov
作曲时候表面筹商
音乐“音响-空间”的低级听知觉表征
刘 健
摘 要：著作以“音乐‘音响-空间’的表面与现实筹商”为筹商对象，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。著作结合形态学、判辨科学与“动能论”等表面的启发，从音高系统、节拍系统、织体系统等音乐低级听知觉角度盘问“音响-空间”的表征体式。
重要词：音乐；“音响-空间”；低级听知觉；表征
作家简介：刘健（1984— ），女，体裁博士，中央音乐学院博士后，浙江师范大学副西席、硕士生导师（浙江金华 321000）。
The Primary Auditory-Perceptual Representation of Music’s Acoustic-Spatial99bt工厂地址
Liu Jian
Abstract： Took the theoretical and practical study of music’s Acoustic-Spatial as the research object， the article explores its spatial turn which happened in the 20th century， and to discover its history， basic connotation， and its manifestation in different disciplines. Inspired by theories of psychology， cognitive science， and kinetic theory， the author discusses the representation of acoustic-spatial from the perspective of the primary auditory perception of music， such as pitch system， rhythm system， and texture system.
Key words： music； acoustic-spatial； primary auditory perception； representation
查尔斯·艾夫斯《康科德奏鸣曲》中的主题出动技巧与“蒙眬记忆”的创作见地
季星妤，艾米丽·艾布拉姆斯·安萨里
摘 要：当今国表里学者们对查尔斯·艾夫斯《康科德奏鸣曲》的经受，主要聚会在盘问作品中的拼贴手法，以及该作品对干系好意思国超验主义东说念主物的援用。克里斯托·布鲁恩通过援用威廉·詹姆斯提议的“念念想流”或“意志”的不雅点，手脚分析这部作品的标准论，进一步延长了对该作品的经受。著作络续沿用着“念念想流”的见地，同期分析《康科德奏鸣曲》中的音乐援用素材和艾夫斯在他的《写在奏鸣曲前》中抒发的“蒙眬记忆”的见地，指出艾夫斯是若何使用李斯特式的主题出动的技巧，来创造一种蒙眬的回忆。著作以为通过威廉·詹姆斯的念念考的流动性见地和李斯特的主题出动技法，大要为艾夫斯作品中的援用素材和拼贴手法提供更浅显的分析视角。
重要词：艾夫斯；《康科德奏鸣曲》；主题出动；蒙眬
作家简介：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 Ansari，1977— ），女，音乐史学博士，加拿大西安大略大学音乐筹商副院长、副西席（London， Ontario， Canada 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 paper， the 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： Ives； Concord Sonata； thematic transformation； vague
三和弦变换过甚结构组织手法
——新里曼表面视域下的舒伯特《降E大调钢琴三重奏》第一乐章探究
谭 森，贾达群
摘 要：著作东要探讨新里曼表面对三和弦的分析行使，梳理PLR变换的内涵过甚演变历程，简述新里曼与里曼之间的关联。之后行使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表象。著作以科恩提议的三种基本变换模子为参考，在具体分析中结合其他表面之视角与分析时候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真义，从形本人层面愈加客不雅、深入地厚实上述作品中的音乐表象。在系数分析历程中，笔者也尝试进一步拓展、丰富PLR变换在现实中的行使策略。
重要词：新里曼表面；三和弦变换；PLR；连贯性；结构
作家简介：谭森（1998— ），男，上海音乐学院2020级硕士筹商生；贾达群（1955— ），男，上海音乐学院作曲系西席（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 Sen， Jia Daqun
Abstract： Base on the discussion of the analysis method of Neo-Riemannian Theory on triads， generalization of the PLR connotation and its evolution， and the brief introduction of the relationship between and Riemann Theory and Neo-Riemannian Theory， the 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 reference， the 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 materials， the article explores their potential structural significance in the whole piece， and as well as from the view of the shape itself， the article provides a more objective and in-depth understanding of the musical phenomenon in the work. Throughout the analysis process， the author tries to expand and enrich the strategies of PLR transformations in practice.
Key words： neo-Riemannian theory； triadic transformation； PLR； coherence； structure
中国音乐史筹商
李白音乐品评初探
明 言
摘 要：李白诗词可谓是千古名篇，不雅其文本，绝大无数是从体裁层面伸开的。而在唐代诗词中，音乐是一个弗成或缺的组成部分。著作站在音乐的角度凝视这类经典名篇。在李白诗作中遴择出部分诗词，用音乐品评的手法给出初步解析。
重要词：李白；音乐品评；宫中行乐词；听（抚）琴诗；不雅伎乐诗；乐东说念主品藻诗
作家简介：明言（1962— ），男，体裁博士，天津音乐学院音乐学系西席（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 literary， but 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 works， the 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 Bai； music criticism； Gongzhong Xingleci ［poems about music in the palace］； Tingqingshi， Fuqingshi［poems about listening to （and playing） the 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 莉
摘 要：礼俗音乐包括官方礼节中的典礼音乐和民间礼俗行为中的音乐。著作进修了清代释奠礼乐，论证其官礼乐制是对宋明礼乐的袭取和发展，有守成之制，也有求实整合翻新，一脉延续中华治国之礼乐念念想；其民间礼节深受“朱子家礼”的影响，可追忆至北宋“礼不下庶东说念主”的历史渊源；其系族家礼典礼用乐中，也可管窥到上古《诗经》歌曲，如“二南”等对后世的长远影响。
重要词：清代；礼俗音乐；二南；家礼；官礼
作家简介：李莉（1976— ），女，艺术学博士，武汉音乐学院音乐学系西席、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 rites， the 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 example， the Ernan has great influenced in the history.
Key words： Qing Dynasty； ritual music； Ernan； family ritual； official ritual
史学表面与音乐培育
音乐史写稿传统的遵从、冲破与干系反念念
——针对普兰廷加《落拓音乐：19世纪欧洲音乐作风史》的史学标准论探讨
唐 纯，杨燕迪
摘 要：普兰廷加西席的《落拓音乐：19世纪欧洲音乐史》手脚一部热切的19世纪作风断代史，尽可能地克服传统“作风史”的局限性，体现出一种更有前瞻性的撰史念念路。本文通过再度审念念这本断代史的撰史性情与学术价值过甚局限性，旨在对当下音乐史学标准论热切问题进行进一步探讨与品评性反念念。
重要词：作风史； 历史主义； 实证主义； 品评； 评释； 个性
作家简介：唐纯（1976— ），女，华东理工大学东说念主文科学院讲师，上海音乐学院2021级博士生（上海 200237）；杨燕迪（1963— ），男，哈尔滨音乐学院院长，上海音乐学院西席，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 Chun， Yang Yandi
Abstract： Professor Plantinga’s Romantic Music： A History of Musical Style in Nineteenth-Century Europe， as an important nineteenth-century Stylistic history， breaks the constraints and reflects a more forward-looking approach to music history. Through the reviews of this book， the 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 history； Historicism； Positivism； Criticism； Interpretation； Individual style
从绪论间性视阙透视音乐合座培育的发展趋向
唐文滔，罗艺峰
摘 要：绪论间性是一种跨绪论、越过互文性的“符际”表象，可指同种绪论或不同绪论之间的关系，也可指归并部/一组东说念主职责品中值得注视的或独到的结构内表象。绪论自含关系性，绪论间性则反馈的是合座主义形而上学不雅照下渊博研讨的绪论念念维范式。体恤绪论间性是厚实音乐培育时间性的客不雅条目，亦然主体发展音乐合座具身判辨的需要。体恤音乐培育的绪论间性有助于主体在音乐现实中取得多维审好意思体验、激活音乐联觉，在先验中达成具身性类化、建筑自身内在顺序，并在音乐真义生成历程中达成自我。强化音乐培育的绪论间性还可为丰富音乐教学技巧、活化教学形态以及深化教学缠绵翻新念念路。
重要词：绪论间性；音乐培育；价值追求；教学意蕴；音乐合座培育不雅
作家简介：唐文滔（1989— ），女，艺术学博士，广东时候师范大学音乐学院后生教师、助理筹商员（广州 510665）；罗艺峰（1947— ），男，西安音乐学院西席，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 Wentao， Luo Yifeng
Abstract： Intermediality is an kind of intersymbol phenomenon that cross media and beyond intertextuality， it 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 relational， the 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 practice， to realize embodied cognition a priori， to establish its own internal order， and 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 methods， revitalize teaching forms and deepen teaching goals.
Key words： intermediality； music education； value pursuit； pedagogical implications； holistic idea of music education
首届“哈音·博学乐风”音乐博士论坛（II）
《四重东说念主格》多重文本的叙事言语筹商
张小丹
摘 要：《四重东说念主格》（Quadrophenia）是英国摇滚乐队“谁”（The Who）于1973年发表的一张见地专辑，报恩一位年青的“摩德族”（Mods）吉米（Jimmy）不安、虚夸和破灭的履历，歌词充满了互文与隐喻。专辑共有17首曲目，有四个连续专辑的音乐主题，大部分曲目中有使用实地采样的环境音效。著作分析了该专辑中多重文
本的交汇互动，盘问了专辑触及的多重见地主题。
重要词：《四重东说念主格》（Quadrophenia）；英国摇滚乐队“谁”（The Who）；见地专辑；摇滚歌剧 多重文本 叙事
言语
作家简介：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诱惑培养博士生；导师：陶辛西席、约翰·科瓦奇（John Covach）西席（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 Mod， Jimmy， who was disturbed， agitated and disillusioned. The lyrics are full of intertextual and metaphorical. The album has 17 tracks， four musical themes that cohere through the album， and 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 Who； conceptual album； rock opera； multiple texts； narrative language
检朴主义建构的广宽叙事
——论菲利普·格拉斯《第五交响曲“安魂、中阴、应身”》的写稿特征
杨婷婷
摘 要：菲利普·格拉斯（Philip Glass，1937—）是检朴主义音乐的代表东说念主物之一。他的作品清楚出检朴主义技法与传统音乐体式的碰撞。在他的《第五交响曲“安魂、中阴、应身”》（Symphony NO. 5 - Requiem， Bardo
and Nirmanakaya，1999）中，行使了多种宗教文本组成的广宽叙事，在组成广宽叙事的时候上，冲破了检朴音乐的念念维定式与时候阻抑，使该作品更具备个东说念主作风。著作对该作品的复杂题材和检朴性时候进行详解，阐述
格拉斯若何用全新的检朴手法来建构音乐的广宽叙事。
重要词：菲利普·格拉斯（Philip Glass，1937—）；检朴主义；广宽叙事；音乐结构；写稿特征
作家简介：杨婷婷（1995— ），女，上海音乐学院音乐学系2021级博士生；导师：王丹丹西席（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 - Requiem， Bardo and Nirmanakaya （1999）， he quotes distinct religious texts for the purpose of magnificent narrative， furthermore he get outside the idea paradigm and technique limitation of the minimalist to contribute the technique for it， so this output signified quite personality. The article explains the complex subject matter and the minimalist technique of the work， as well as illustrates how Glass uses a new minimalist approach to construct the grand narrative of the music.
Key words： Philip Glass （1937-）； Minimalism； Grand Narrative； Musical Structure； Writing Features
《新音乐》与《音乐杂志》中的上海“新运”之声
郝泽琼
摘 要：“新音乐畅通”是我国20世纪30-40年代以创建新音乐为想法的文化畅通。上海新闻报刊业，在抗日干戈到手后寂静复苏的1946年《新音乐》与《音乐杂志》同期发刊，成为上海新音乐文化传播的主要平台，两本期刊分裂发出“推动颂扬”与“引进西乐”的“新音乐畅通”的不同呼声。这开头于不同音乐家群体对步地与音乐民族化厚实的相反，反馈出对那时环球音乐发展阶梯与国防音乐体式选择等问题的各持主张。著作分析了两个刊物对两类音乐家群体在新音乐畅通中的不合走漏，追忆那时环球音乐行为在“存异”中若何“求同”的灵验陶冶。
重要词：《新音乐》（上海版）；《音乐杂志》；上海；新音乐畅通
作家简介：郝泽琼（1994— ），女，哈尔滨音乐学院音乐学系2020级博士生；导师：王岩西席（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 1946， after the gradual recovery from the victory of the War of Resistance Against Japanese， the 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 Movement， such 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 music， but 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； Shanghai； New Music Movement