音乐表演研究的史学意义探问——表演实践维系的“过去之当下”  

The Historiographical Significance of the Study on Performance Practice of Music Exploring the‘Present of the Past'Sustained by Performance Practice

作　　者：王随缘 孙红杰 Wang Suiyuan;Sun Hongjie

机构地区：[1]上海师范大学音乐学院 [2]上海师范大学音乐学院音乐理论系,上海200234

出　　处：《北方音乐》2024年第2期73-82,共10页Journal of the Northern Music

摘　　要：长期以来,西方音乐学领域对于音乐创作的关注远超音乐表演,这种偏向在当前以作曲家及作品为核心主体的音乐历史书写中显露无遗,音乐表演研究的史学价值亟需得到重新审视。文章通过具体史实论证了音乐表演对创作施有的内置作用力与外部引导力,从客观与主观两个维度分析了表演在理论研究中遭受冷遇的原因,并在此基础之上对音乐表演研究的史学价值作出了进一步的阐扬。文章提出,表演研究将提供一条理想的音乐史书写思路:重塑音乐表演实践中的创作史,如此便能在将作品丰满为有过程、有情境且有效应的音乐事件的同时,保障音乐在整体历史叙述中的主体性。For a long time,scholars have paid far more attention to music creation than to music per-formance,which is evident in the current writing of music history that focuses on composers and their works.Therefore,the historiographical value of music performance studies needs to be re-examined.To this end,this paper demonstrates the built-in and external guiding power of music per-formance on creation through specific historical facts;subsequently,the reasons why performance has been neglected are analysed from both objective and subjective dimensions,on which the histo-riographical value of music performance research is further revealed.Ultimately,the paper suggests that performance studies would offer an ideal way of writing music history:by reinventing composi-tion in the practice of musical performance-in this way,fleshing out musical works as processual,intertextual,and effectual events while safeguarding the subjectivity of the music in the overall his-torical narrative.

关 键 词：音乐表演 历史书写 表演实践 创作史 

分 类 号：J604.6[艺术—音乐]