西方曲式理论的新近发展及其启示  

Western Musical Form Theory:Recent Development and Its Revelation

作　　者：王翠华[1] 王中余[2] Wang Cuihua;Wang Zhongyu

机构地区：[1]合肥师范学院,合肥230001 [2]上海音乐学院音乐艺术研究院,上海200031

出　　处：《音乐艺术（上海音乐学院学报）》2024年第1期126-138,共13页Art of Music(Journal of the Shanghai Conservatory of Music)

基　　金：2018年国家社科基金艺术学一般项目“西方现当代音乐分析体系与方法研究”,项目批准号:18BD055。

摘　　要：自20世纪60年代以来,西方曲式理论发展迅速。为弥补教科书式的曲式理论之不足,西方理论家力图对其进行改进和重构,或摒弃既有观念提出全新的曲式见解,并采用相互接力或并行发展的方式,不断推动曲式理论发展。在西方新的曲式理论和方法启示下,中国的曲式理论也呈现出对既有理论的质疑与挑战、对理论话语体系构建的强调、形成多样性方法与优化的理论建构思维、拥有丰富的作品资源和深度分析,以及理论家之间的互相承认与借鉴。The theory of western musical form has developed rapidly since the 1960s. In order to make up for the deficiency of the musical form theory in the textbooks, western theorists try to improve and reconstruct it, or abandon the existing ideas and put forward a new view of musical form. They use such ways as mutual relay or parallel development of the way, and constantly promote the development of musical form theory. Inspired by the new theory and method of musical form in the West, the theory of musical form in China also presents doubts and challenges to the existing theory. They also emphasize on the construction of theoretical discourse system, diverse methods and optimized theory construction thinking, rich work resources and in-depth analysis,as well as mutual recognition and reference between theorists.

关 键 词：曲式理论 曲式学科 西方 中国 

分 类 号：J614.1[艺术—音乐]