斯特劳克、流亡者乐坛、上海乐坛与世界乐坛的“同时代性”--井口淳子《流亡者们的乐坛:上海租界的音乐与芭蕾》述评  

The Contemporaneity of Strauk,the Exile Music Scene,the Shanghai Music Scene and the World Music Scene:Review of Iguchi Junko’s Exile Music Scene:Music and Ballet in the Shanghai Concession

作　　者：宫宏宇 Gong Hongyu

机构地区：[1]华中师范大学音乐学院,武汉430079 [2]新西兰国立尤尼坦理工学院

出　　处：《音乐文化研究》2022年第1期126-133,M0005,共9页Music Culture Studies

基　　金：国家社会科学基金重大项目“中国音乐史学基本问题研究”成果之一(项目编号:18ZDA025)。

摘　　要：日本学人井口淳子的新作《流亡者们的乐坛:上海租界的音乐与芭蕾》在问题意识、论述取径、史实呈现和理论升华等方面均有可圈可点之处。它虽然以上海租界“流亡者们”的音乐与芭蕾为主要议题,但所讨论的内容实际上牵涉了近代中国的政治、经济、殖民现代性、全球化等多个层面。尤其是在呈现20世纪30年代至“二战”结束的上海多维度的都市声音景观,追踪连接日本、上海和欧洲的文化经纪人斯特劳克的足迹,以及陈述战前及战时的上海乐坛到战后日本乐坛的延续性上,此书都有可资学界借鉴的贡献。Japanese scholar Iguchi Junko’s newly published book Exile Music Scene:Music and Ballet in the Shanghai Concession,is notable for its awareness of issues,approaches,historical presentations,and its theoretical sublimation.Although it focuses on the music and ballet of the"exiles"in the Shanghai Concession,the book includes several aspects of the politics,economy,colonial modernity,and globalization of modern China.In particular,the book presents the multidimensional urban soundscape of Shanghai from the 1930 sto the end of World WarⅡ,tracing the footsteps of Awsay Strauch,a cultural agent who connected Japan,Shanghai,and Europe,and states the continuity of the pre-war and the wartime Shanghai music scene to the post-war Japanese music scene.This book makes valuable contributions.

关 键 词：井口淳子 斯特劳克(AwsayStrok) 流亡者乐坛 上海乐坛 世界乐坛 同时代性 

分 类 号：J609.2[艺术—音乐]