曾稽旧谱——《中国音乐大典·乐谱编》工作忆序  

Reflecting on Past Records——Preface to the Works of Chinese Music Classics Compilation of Scores

作　　者：萧梅[1,2] Xiao Mei

机构地区：[1]上海音乐学院音乐学系 [2]上海音乐学院亚欧音乐研究中心

出　　处：《中国音乐》2024年第6期16-24,61,共10页Chinese Music

摘　　要：乐谱是活生生的音乐留下的刻写之迹。无论是为了再现和记忆,还是为了传播和传承,其对应声音的符号都凝聚着“局内人”的行乐方式与作乐思维。虽然面对历史,民间乐谱的“创建者”(creator)并没有创作、演奏和研究的角色分工,而是出自弹奏实践的能“乐”者自身辑纂和传谱;那么,作为现代学术框架中的音乐学子,当我们将中国音乐的曲谱收集、整理、翻译视为“整理国故”的要务时,获得的实际上是一次走进历史、身入传承的机会。可以说《中国音乐大典·乐谱编》,是基于20世纪前辈音乐学研究者对中国音乐资料收集、记录、整理与研究基础上的再次作业。作为主编之一,本人以工作回顾的方式一方面介绍“乐谱编”的特色,另一方面,分享工作团队在这一短暂工作历程中的状况、思考和收获。Scores are the etched traces left behind by the living essence of music.Whether for reproduction and memory,or for dissemination and inheritance,the symbols corresponding to the sound encapsulate the musical methodologies and thoughts of the"insiders".In history,the"creators"of folk music scores did not distinctively serve the roles of composer,performer,and researcher.Instead,they were adept musicians who compiled and passed down these scores from their practical playing experiences.Hence,as music scholars within the modern academic framework,when we treat the collection,organization,and translation of Chinese music scores as the vital task of"organizing the national heritage",what we are truly seizing is an opportunity to delve into history and immerse ourselves in this inheritance.The Chinese Music Classics Compilation of Scores can be described as a reiteration grounded in the foundational work of 20th-century music researchers,who collected,recorded,organized,and studied Chinese music data.As one of the chief editors,I use this retrospective to introduce the unique features of the"Compilation of Scores"and,at the same time,share the team's experiences,reflections,and insights during this brief work journey.

关 键 词：《中国音乐大典》 “乐谱编” 版本提要 学术性提要 乐谱提要 DC标准 著录元数据 

分 类 号：J605[艺术—音乐]