论音乐叙事结构研究的核心范畴  

Study on the Core Areas of Music Narrative Structure Research

作　　者：张宏伟 Zhang Hongwei

机构地区：[1]首都师范大学

出　　处：《中国音乐》2023年第4期126-137,共12页Chinese Music

基　　金：2021年度国家社科基金艺术学重大项目“中国特色作曲理论体系研究”(项目编号:21ZD17);2023年度北京市博士后工作经费资助项目“中华优秀文化视域下的音乐叙事结构及成因研究”(项目编号:2023-ZZ-159)的阶段成果。

摘　　要：迄今为止,音乐叙事理论研究已历经40余年的发展历程,呈现出多条支流。各支流的研究中心、研究范畴不尽相同,从而构成了纷繁复杂的音乐叙事研究疆域。不仅如此,同一流派中各学者之研究内容也表现出一定的“差异性”,因而很难呈现出体系化的研究模式。本文从作曲家与音乐作品、音乐作品与音乐文本、音乐文本与聆听者三个方面入手,对音乐叙事结构研究的核心范畴进行归纳,进而架构音乐叙事结构研究的主要范式。The study of Music Narrative theory has spanned over forty years, resulting in theemergence of multiple schools of thought. These schools have explored diverse core research topics andareas, contributing to the complexity of the field of Music Narrative research. Furthermore, even withinthe same school, scholars may hold differing perspectives, further complicating attempts to present aunified and systematic model. In this article, the author aims to address this challenge by providinga comprehensive overview of the main topics within Music Narrative research, focusing on three keyaspects: composers and their music compositions, music compositions and their musical text, and theinteraction between musical text and listeners. By doing so, the article constructs the primary paradigm ofMusic Narrative research.

关 键 词：音乐叙事结构 核心范畴 作曲家与音乐作品 音乐文本 

分 类 号：J614.3[艺术—音乐]