关于“民族主义问题”在西方音乐史学研究中的再思考  

The Issue of Nationalism:Researches and Reconsiderations in Western Music Historiography

作　　者：陈海 CHEN Hai

机构地区：[1]哈尔滨音乐学院

出　　处：《中央音乐学院学报》2024年第2期133-149,共17页Journal of The Central Conservatory of Music

摘　　要：当前西方音乐史学研究中“民族主义问题”越发成为研究热点。自达尔豪斯以来,音乐民族主义的研究范式逐渐发生转变,进入21世纪,塔拉斯金的《牛津西方音乐史》和吉姆·萨姆森主编的《剑桥十九世纪音乐史》(属系列丛书《剑桥音乐史》),在音乐民族主义问题的书写上,既继承了达尔豪斯以来的书写观念,又呈现了不同的民族主义理论视角和态度。笔者认为,两位学者关于音乐民族主义叙史观存在现代与后现代的差异,在研究视角上又联结了族群-象征主义的历史记忆与大众影响,在史学态度上集合了本质主义与非本质主义的探讨。梳理两位学者对于音乐民族主义问题书写观念、方法与价值观的异同,必然对西方学界关于民族主义在音乐史书写中的新世纪转向,有着新的理解与思考,并对中国当下西方音乐史研究与书写产生重要的理论参考意义。The issue of nationalism has become a hot research topic in the current study of Western music historiography.Since Dahlhaus,the research paradigm of musical nationalism has gradually changed,and in the 21st century,Taruskin's The Oxford History of Western Music and Jim Samson's The Cambridge History of Nineteenth-Century Music-part of the series Cambridge History of Music-have not only inherited Dahlhaus's concept of writing on the issue of musical nationalism,but also presented different theoretical perspectives and attitudes towards nationalism.In the author's view,these two scholars'views on the narrative history of musical nationalism differ between modern and postmodern,linking the historical memory and popular influence of Ethno-symbolism in their research perspectives,and bringing together essentialist and non-essentialist explorations in their historiographical attitudes.To sort out the similarities and differences between these two scholars'concepts,methods and values in writing about musical nationalism will certainly provide new understanding and thoughts on the new century changing direction of nationalism in music history writing in the Western academic world,and will also have important theoretical references for the study and writing of Western music history in China nowadays.

关 键 词：塔拉斯金 吉姆·萨姆森 音乐史学 民族主义 

分 类 号：J609[艺术—音乐]