中国“音乐分析学”的基础及早期形态  

The Foundation and the Early Development of Music Analysis in China(1949-1978)

作　　者：蔡志妮 Cai Zhini

机构地区：[1]上海音乐学院,上海200031 [2]湖南城市学院音乐与舞蹈学院

出　　处：《音乐艺术(上海音乐学院学报)》2024年第6期106-118,共13页Art of Music(Journal of the Shanghai Conservatory of Music)

基　　金：2022年度上海音乐学院博士生科研课题“中国音乐分析学科教学体系的更新与发展(1949—1979)”阶段性成果,项目批准号:SHCMDP202242;2024年度益阳市社科联课题项目“益阳音乐创作与旅游产业的协同创新”阶段性成果,项目批准号:J1316240。

摘　　要：中国“音乐分析学”在20世纪80年代初以后才真正得以构建。尽管“音乐分析学”在1949年至1978年间尚未成为一门独立学科,但“曲式学”在新中国作曲技术理论不断引入、传播、融合与发展的语境中,已为“音乐分析学”的形成奠定基础,并呈现其早期形态。中国的“曲式学”自20世纪50年代初期开始逐渐从西方体系转向苏联模式,并形成中国特色曲式与作品分析教学体系;与此同时,关于音乐作品分析的理论与实践也推出大批学术成果,进而有力推动“音乐分析学”在中国的起步,这为“音乐分析学”在改革开放以后成为一门独立学科提供重要的理论依据和实践经验。As a discipline,music analysis in China was not really established until the early 1980s.However,during the period from 1949 to 1978 when compositional theories were introduced and developed in the new China,the study of music form had already laid a foundation for music analysis and shown its early look as an independent discipline.Since the early 1950s,the study of music form has gradually shifted from the Western system to the Soviet model,forming a teaching system of composition and analysis with Chinese characteristics.This period also saw a large number of academic results in analysis of music works,which promoted the start of the disciplinary music analysis in China,and provided crucial theories and experience for its development as an independent discipline since the reform and opening up.

关 键 词：曲式学 音乐分析学 教学体系 

分 类 号：J614[艺术—音乐]