中国中古音乐史研究的“新感受力”——评《伎乐与乐伎:中古音乐的历史映像》  

The"New Sensibility"in the Study of Chinese Medieval Music History-Comments on Jiyue and Yuejt:Historical Image of Medieval Music

作　　者：陈永[1] Chen Yong

机构地区：[1]华中师范大学音乐学院,武汉430042

出　　处：《音乐艺术（上海音乐学院学报）》2024年第1期95-104,共10页Art of Music(Journal of the Shanghai Conservatory of Music)

摘　　要：作为中国音乐断代史之一的中古音乐史,其具有不同一般的时空维度和“中世性”的历史文化特质。夏滟洲的《伎乐与乐伎—中古音乐的历史映像》,以新的学术视域、学术术语和学科范式,将公元3~9世纪的中国中古音乐制度、音乐人、音乐活动、文化区域等历史事项,置于历时性与共时性相交互的学术场域,集中研究中古音乐的主体—伎乐与乐伎的历史变迁和文化特质,构建了中国中古音乐新的“历史映像”,显示出有别于同类研究的“新感受力”和学术张力。The music history of the Middle Ages, as one of the dynastic histories of Chinese music, has different dimensions of time and space and the historical and cultural characteristics of “Middle Age.” Xia Yanzhou's Jiyue and Yueji: Historical Image of Medieval Music, with a new academic perspective, academic terminology and disciplinary paradigm, puts the music system, musicians, music activities and cultural region of medieval China in the 3rd~9th century AD into an academic field of diachronic and synchronic interaction, focusing on the main body of medieval music. The historical changes and cultural characteristics of ji-yue and yue-ji(female musicians and their music) constitute a new “historical image” of Chinese mediaeval music, showing a “new sensibility” and academic tension different from similar studies.

关 键 词：中古音乐史 乐伎与伎乐 映像 新感受力 书评 

分 类 号：J609.2[艺术—音乐]