中国音乐史研究
古代礼乐关系中我国音乐规制的思想诠释
田可文
摘 要：“礼”“乐”是中国古代文明的一种特征。“礼”的仪式在西周初年经周公等的改造，从宗教制度转换为基本的典章制度，规定着社会生活、贵族活动与国家社会政治生活的方方面面。而“乐”被周代改造为沟通情感基本方式，其目的通过“乐”来化解因“礼”的秩序化、等级化而带来的社会对立与矛盾。利用“礼教”“乐教”形成一套完善的“礼乐制度”，来维护封建等级的秩序，以礼乐教化通行天下，使人修身养性、体悟天道、谦和有礼、威仪有序。“礼乐”对后来各朝代都产生重大而深远的影响。
关键词：周代；礼；乐；政治生活；礼乐制度
作者简介：田可文（1955— ），男，开云在线登录特聘教授、武汉音乐开云在线登录教授、博士生导师（哈尔滨 150028）。
Interpretation of Regulation of Music Idea Based on its Relationship with Ancient Ritual
Tian Kewen
Abstract： Li ［The hierarchical system of ancient society that included the moral code and behavioral norms］ and Yue ［music］ were features of ancient Chinese civilization. The rituals of Li were re formed by the Duke of Zhou and others in the early years of the Western Zhou Dynasty from religious rules to the basic system of laws and regulations， which governed all aspects of social life， aristocratic activities and national social and political life. The Yue Reformation in Zhou， which worked as the basic way of communicating emotions， aimed to dissolve the social antagonisms and contradictions that brought about by the orderliness and hierarchical nature of Li by Yue. The utility a perfect “Regulation of Liyue” which formed by Lijiao ［etiquette and moralizing］ and Yue Jiao ［music education］ was to maintain the order of the feudal hierarchy. So， the governing which based on the “Regulation of Liyue” was realized by the its functions that cultivating people’s moral character and to understand the way of nature， so that they will be not only modest and courteous， but also majestic and orderly. The Liyue had a significant and far-reaching influence on the subsequent dynasties.
Key words： Zhou Dynasty； Li； Yue； Political Life； Liyue Regulation
《左传》所引《诗经》的音乐形式、结构与组合考
申莹莹
摘 要：《左传》所引《诗经》是“歌诗”“诵诗”“赋诗”，均可归为声乐的诗乐形式。“歌诗”重在歌唱，多作礼制仪式用乐，由乐工表演，歌唱时有瑟作伴奏。“诵诗”与“赋诗”重在“吟咏”。这些乐诗涉及《诗经》中的《风》《雅》《颂》，而以《风》《雅》诗篇为主。从其唱词分析，《风》《雅》乐诗歌曲结构趋同，显示出俗乐对诗乐结构的影响。结合各类乐诗的组合使用可以看出，春秋时期礼乐用《诗》的等级规制已被打破，呈现出礼乐发展的衰迟之势。
关键词：《左传》；《诗经》；歌诗；诵诗；赋诗
作者简介：申莹莹（1982— ），女，文学博士，中央音乐开云在线登录音乐学系讲师（北京 100031）。
Research of the Musical Forms, Structures and Combinations of the Shijing Cited in Zuozhuan
Shen Yingying
Abstract： The Shijing ［The Book of Songs］ quoted in Zuozhuan ［The Chronicle and Commentary of Zuo］are Geshi ［Aria Poem］， Songshi ［Recitative Poetry］ and Fushi ［Narrative Lyric］， all can be categorized into vocal music that in the form of Shiyue ［musical poems］. The Geshi focus on melody singing， and is mostly used for rituals and ceremonies， which is performed by musicians and accompanied by Se ［ancient plucked zither］. The Songshi and Fushi mainly performs in the form of Yiyong ［chanting］. These Yueshi exists in the Feng ［Airs of the State］， Ya ［Elegies］ and Song ［Odes］ of Shijing， and the psalms in the first two being the main part. Analyzed the lyrics， the form of the Yueshi in the Feng and Ya poems are similar， showing the influence of secular music on the structure of Shiyue. Based on the observation of the combined use of various types of musical poem， we can further prove that the hierarchical rules of using Shi ［Poetry］ for ritual music in the Spring and Autumn Period has been broken， representing the tendency of decline in the history of ritual music.
Key words： Zuozhuan； Shijing； Geshi； Songshi； Fushi
唐宋燕乐调命名系统的演变及其原因探析
张红梅
摘 要：唐宋燕乐调存在“之调式”“为调式”两种不同的命名系统，正确辨析不同时期的宫调称谓对理解燕乐宫调理论的内涵与本质有极其重要的影响。《唐会要》《乐府杂录》《新唐书》等文献中二十八调的称谓表述是统一的“之调式”体系，体现出唐人对雅、燕两种不同性质音乐的明确区分；《景祐乐髓新经》《梦溪笔谈》《补笔谈》中的二十八调则采用“为调式”命名体系，反映出北宋时期燕乐二十八调逐渐被纳入雅乐系统，在丰富了雅乐内涵的同时也被雅化改造；南宋复古崇雅意识强烈，遵从儒家正统雅乐制度的同时，深受民间俗乐及唐乐遗音的影响，采用“之调式”称谓体现出南宋雅乐俗化、燕乐雅化的音乐实践与乐调理论的折衷融合。
关键词：唐宋燕乐调；二十八调；之调式；为调式；宫调
作者简介：张红梅（1974—），女，文学硕士，鲁东大学艺术开云在线登录教授（山东烟台 264000）。
The Evolution and Cause of the Nomenclatures of Yan-Yue-Diao in Tang and Song Dynasties
Zhang Hongmei
Abstract： There are two different nomenclatures in the Yanyuediao ［Yan Music Modes］ in Tang and Song Dynasties， i.e.， Zhidiaoshi ［A Note of A Mode Method］ and Weidiaoshi ［A Note as Tonic Note Method］. Discrimination of tone designations of Gong-Mode of different periods has an extremely important impact on the understanding of the connotation and essence of the Gong-Mode of Theory in Yanyue. The 28-Modes in Tang Hui Yao ［Historical Records of the Institutions of Tang］ and Yue Fu Za Ji ［Miscellaneous Records of the Musical Affair Office］ was named in the same way， which as the Zhi Diao Shi System， reflecting the Tang people’s clear distinction between Ya-Yue ［elegant music］ and Yan-Yue that of two different natures. While the Jingyou Yuesui Xinjing ［Jingyou New Theory of Musical Temperament］， Meng Xi Bi Tan ［Brush Talks from Deram Brook］ and the other literture adopt the Wei Diao Shi， reflecting the fact that the 28-Modes of Yan Music in the Northern Song Dynasty were gradually incorporated into the Yan Music system. The musician in Southern Song Dynasty complied with the orthodox Yayue system of Confucianism and adopted the appellation of Zhidiaoshi， which embodied the eclectic compromise of music practice and the theory of tonality that based on the secularization of the Ya Yue of Southern Song and the elegant tendency of the Yanyue.
Key words： Tang and Song Yanyue modes； 28-Modes； Zhidiaoshi； Weidiaoshi； Gong-Mode
“犯调”与“集曲”辩正
仝 鑫，施德玉
摘 要：“犯调”与“集曲”在学界是常被混淆的名称。犯调在传统乐学中是关于宫调关系的术语。其广义的意涵是指调性或调式的变换，就原曲调性与调式而言，有被“侵犯”之意；而“集曲”是指采用若干支曲牌，各摘取其中的若干乐句，重新组成一支有首有尾的新曲牌，对原曲牌而言，也有被“侵犯”之意。因此，“犯调”与“集曲”便产生有相同意义之现象，因而，历来引发许多的讨论与争议。文章分析了“犯调”的多重意义，即包含词乐之“犯调”、也论述“犯调”的形式与内容；文章也探讨“集曲”的形式与结构，其所包含曲牌片段组合之形式、曲牌片段之衔接。文章继而再将“犯调”与“集曲”进行比较，论述了“犯调”与“集曲”之异同。
关键词：犯调；集曲；曲牌体；期待视野（expectation-horizon）；辩正
作者简介：仝鑫（1994— ），女，台湾艺术大学表演艺术开云在线登录艺术学博士，安徽淮北师范大学音乐开云在线登录讲师（安徽淮北235000）；施德玉（1959— ），女，文学博士，台湾艺术大学教授、台湾成功大学艺术研究所特聘教授，博士生导师（台湾新北 220307）。
Correction of Fandiao and Jiqu
Tong Xin， Shi Deyu
Abstract： Fandiao and Jiqu are confused in the academic area frequently. Fandiao is a term of the relationship of Gone-mode in the traditional music research， broadly connotated the change of tonality or modality， so Fan means violating the original tune in the two aspects. While Jiqu means excerpting phrases from different Qupai to reforge a new Qupai music which to be coherent， so for the originals can be seen as infringed. Therefore， the phenomenon of Fandiao and Jiqu have the similar meaning， which has been the cause of many discussions and controversies. The article not only analyzes the connotative meanings of Fandiao， i.e， the Fandiao of which include lyric， and the form and content of it， but also discuss the form and structure of Jiqu， i.e， the combination method and articulation technique of the verses it used， so as to compare the Fandiao and Jiqu， then conclude their differences and similarities.
Key words： Fandiao； Jiqu； Qupai genre； expectation-horizon； correction
中国当代声乐协奏曲创作及其本土化特征
杨正君，朱越文
摘 要：声乐协奏曲作为人声与器乐相结合的特殊音乐体裁，在中国已有数十年的发展历史，更有不少有影响力的作品问世。文章试图通过梳理中国声乐协奏曲的发展历史与现状、体裁属性、子体裁类型等创作概况，进而分析归纳出当代中国声乐协奏曲创作中音乐风格的民族性、人声与乐队协作的中国性、人声的炫技性与叙事性等本土化发展特征，并指出当代中国声乐协奏曲创作的某些局限与发展趋势。
关键词：音乐体裁；声乐协奏曲；人声与乐队；本土化
作者简介：杨正君（1977— ），男，文学博士，星海音乐开云在线登录教授，硕士生导师；朱越文（1995— ），女，星海音乐开云在线登录作曲系2021级硕士研究生（广州 510006）。
Contemporary Chinese Creation of Vocal Concertos and Their
Localization Characteristics
Yang Zhengjun， Zhu Yuewen
Abstract：As a special musical genre combining vocal and instrumental music， vocal concerto has been developed in China for decades， and many influential works have been released. Based on the research of the history， status， attributes， and its sub-kind types of the genre， the article analyzes and summarize the located characteristics of the contemporary Chinese vocal concertos， such as the ethnic musical style， the Chinese style in the collaboration between the vocals and the orchestra， the virtuosity and narrativity of the vocals. At last， the authors point out some of the limitations and the development trend of the creation of the contemporary Chinese vocal concerto.
Key words：music genre； vocal concerto； vocals and orchestra； localization
音乐民族学研究
论我国民族音乐理论的初期建设（1949-1966）
刘振涛
摘 要：1949年中华人民共和国成立至1966年，中国传统音乐理论研究形成第一个高峰。该时期理论成果主要是对民间音乐的收集、整理，研究与探讨主要集中于唱法问题、形态研究、历史演变、继承与改革、语言与音乐的关系等方面。对少数民族的音乐研究，多在采集、整理层面；宗教音乐也开始纳入学者的视野。中国民族音乐理论的初期建设呈现出“形态描述、乐种梳理与史学贯通”的三大学术传统，以及“音乐→文化→音乐”与“音乐、文化”一明一暗的学理路径。当代音乐研究应重视并继承我国本土的传统研究方法。
关键词：传统音乐；民族音乐；音乐理论研究；初期建设
作者简介：刘振涛（1986— ），男，艺术学博士，南阳师范开云在线登录中原传统音乐研究院副院长，副教授，河南大学文开云在线登录在站博士后（河南南阳 473061）。
The Early Construction of Chinese Ethnic Music Theory (1949-1966)
Liu Zhentao
Abstract：Between the founding of the People’s Republic of China in 1949 and 1966， the theoretical study of Chinese traditional music formed its first peak. The theoretical achievements of that period were mainly the collection and classification of folk music， and the research and study were mainly focused on the method of singing， morphology， historical evolution， inheritance and reform， and the relationship between language and music. The research on national minority music was mostly focus on the jo collection and classification， and the scholars began to notice the religious music. The initial construction of Chinese ethnomusicology theory showed the three academic traditions， i. e. ， morphological description， music genre collection， historical research， as well as those opposite academic paths， i. e. ， music-culture-music and music & culture. Contemporary music research should emphasize and inherit our local traditional research methods.
Key words：traditional music； ethnic music； music theory research； initial construction
衍生、存续与主体性丧失的困窘
——“非遗后时代”鄂伦春族传统音乐的“三化”现象
陈 龙
摘 要：文章论述当代鄂伦春族传统音乐传承中的“经典化”“舞台化”和“传承人化”这“三化”现象。这种传承方式导致的结果，是一种缺失“主体性”表述的现代存续。而要真正实现其作为一种文化符号的传承，与作为文化资源的创新性发展与转化，应立足于其民族文化之本位，凸显自身内源性特征，在民族文化认同基础上，实现民族音乐文化的衍生、存续与主体性建构。
关键词：“非遗后时代”；鄂伦春族；民歌；“三化”；现象
作者简介：陈龙（1991— ），男，艺术学博士，在站博士后，开云在线登录副教授，硕士生导师（哈尔滨 150028）。
The The Dilemmas of Derivation, Survival and Subjectivity Lost
——Three Tendencies of Oroqen Traditional Music in the Post-Non-Heritage Era
Chen Long
Abstract： The article discusses three tendencies， i.e.， only classic be documented， perform aimed and inheritor dominated， in the transmission of contemporary Oroqen traditional music， which resulted a kind of modern survival which lacks the expression of subjectivity. In order to realize the inheritance both as a cultural symbol and its innovative development and transformation as a cultural resource， it should be based on its national culture， highlight its own endogenous characteristics， and realize the derivation， survival and subjectivity construction of national music culture on the basis of national cultural identity.
Key words： Post-Non-Heritage Era； Oroqen； Folk Songs； Three Tendencies； Phenomenon
谁的田野？
——从一个田野事件论跨学科音乐田野访谈中的思维秩序构建
张春蕾
摘 要：文章聚焦“跨学科”中的音乐田野访谈问题，通过对田野采风的历史梳理，阐明田野工作并非民族音乐学的专属，并谈及现今田野的实践与理论在各学科不匹配的现状。进而通过具体的跨学科田野事件的引入，揭示其中现象与思维混乱的问题。并根据具体田野事件，对田野工作进行分类，从个体身份转换、学科思维搭建、思维互换与田野访谈合作，结合逻辑分析与博弈论的方法，具体分析跨学科田野中的合作问题，论证田野访谈中的思维秩序的构建。
关键词：音乐田野；跨学科；访谈；思维秩序；构建
作者简介：张春蕾（1989— ），女，艺术学博士，中国音乐开云在线登录在站博士后，中国音乐研究基地研究员（北京 100101）。
Whose Field Work?
——On the Construction of Thinking Order in Interdisciplinary Music
Fieldwork Interviews based on a Field Event
Zhang Chunlei
Abstract：The article discusses three tendencies， i. e. ， only classic be documented， perform aimed and inheritor dominated， in the transmission of contemporary Oroqen traditional music， which resulted a kind of modern survival which lacks the expression of subjectivity. In order to realize the inheritance both as a cultural symbol and its innovative development and transformation as a cultural resource， it should be based on its national culture， highlight its own endogenous characteristics， and realize the derivation， survival and subjectivity construction of national music culture on the basis of national cultural identity.
Key words：Post-Non-Heritage Era； Oroqen； Folk Songs； Three Tendencies； Phenomenon
延边“四物乐”的“口音”特征
马琦玥
摘 要：“口音”（구음，gueum）伴随朝鲜民族传统乐器演奏而生，是利用口腔模拟乐器发声的呈体系性的声音，并广泛应用于朝鲜族音乐的教学和演奏中。文章以作者的跨界田野工作、“四物乐”研习经历为依据，以延边“四物乐”创始人陈京洙所教授的“口音”系统为研究对象，对其“口音”体系与演奏方法之间的关系进行梳理，对其特征进行“以音示法”“以音定色”“以音代格”“以音和韵”四个方面的论析与结论。“口音”是撬动“四物乐”表演行为系统的关窍，对“四物乐”表演的整体性研究具有重要价值。
关键词：“口音”；“四物乐”；延边；朝鲜族音乐
作者简介：马琦玥（1988— ），女，回族，艺术学博士，中国戏曲开云在线登录讲师（北京 100082）。
The “Gueum” Characteristics of Yanbian “Samulnori”
Ma Qiyue
Abstract： “Gueum” （“口音”）associated with the Korean nationality traditional instruments， is the use of oral simulation instrument the voice of the voice of a system， and is widely applied in the Korean nationality music playing and teaching. Based on the author’s cross-boundary field work and study experience of “Samulnori”（“四物乐”）， this paper takes the “gueum” system taught by Chen Jingzhu， the founder of Yanbian “Samulnori” as the research object， and summarizes the relationship between its “gueum” system and playing methods， and analyzes and concludes its characteristics from four aspects： “indicating method by gueum” “determining tone by gueum“ “representing rule by gueum”， and “integrating gueum with rhyme” “Gueum” is the key point to move the performance behavior system of “Samulnori”，which is of great value to the overall study of “Samulnori“ performance.
Key words： Gueum； Samulnori； Yanbian； the Korean nationality music
天琴：与祖先和神灵交谈的一种仪式乐器
舒翠玲
摘 要：天琴作为广西西南部壮族区域一种仪式乐器，是壮族传统礼俗音声的重要表现对象，也成为壮族人民与祖先、神灵沟通的媒介。作者通过对该地区“受戒出师”仪式、“添粮补寿”和“脱孝除服”等仪式的参与和实地考察，对广西崇左地区的龙州、凭祥等壮族地区仪式中天琴的使用进行调研，探讨壮族天琴师如何主持祝寿仪式、如何与祖先神灵沟通、如何为死去的亲人脱孝回归正常的社会生活秩序，进而探讨壮族布傣族群的社会秩序和礼法制度。
关键词：天琴；天琴师；受戒；添粮补寿；脱孝除服
作者简介：舒翠玲（1984— ），女，哲学博士，广西民族师范开云在线登录艺术开云在线登录副教授（广西崇左 532200）。
Tianqin: A Ritual Instrument for Communicating to Ancestors and Gods
Shu Cuiling
Abstract： The Tianqin， as a ceremonial instrument in the southwestern Guangxi Zhuang region and a medium of communication between humans and their ancestors and gods， is an important manifestation of the traditional secular ritual sounds of the Zhuang. Through the participation and fieldwork of the ceremonies that Shoujie Chushi ［accepting the precepts and finishing apprenticeship］， Tianliang Bushou ［adding food to make up for longevity］ and Tuoxiao Chufu ［taking off the clothes symbolling the filial piety for dead relatives］， the author studied on the use of Tianqin in these ceremonies in Longzhou， Pingxiang and other Zhuang regions in Guangxi Chongzuo Area， and furthermore explored how the Tianqin masters preside over the birthday ceremonies for aged and macrobian， how the people communicate with the spirits of their ancestors， and how they return to the normal order of social life after Tuoxiao Chufu. Then the author discusses the social order and the ritual and institution system of the Zhuang’s Budai ethnic group.
Key words： Tianqin； Tianqin master； Shoujie； Tianliang Bushou； Tuoxiao Chufu
俄罗斯音乐与西方音乐研究
“悲剧几何学”实验：斯特拉文斯基《俄狄浦斯王》音乐戏剧观念与实践“四因说”
吴 洁，杨燕迪
摘 要：文章以斯特拉文斯基“悲剧几何学”概念原点，提出其音乐戏剧观念与实践“四因说”，来探讨其音乐戏剧《俄狄浦斯王》的“四因”：“起因”——基于斯氏个人“反浪漫主义”批判，探讨他为何随着历史时间轴从早期芭蕾舞剧作品转而创作这部音乐戏剧《俄狄浦斯王》；“外因”——论证斯氏为何而又如何在“新古典主义”阶段重新理解此剧基于悲剧主题的现代性追求；“内因”——根据斯氏“几何学”思路，分析此部作品中所设置的两个戏剧“空间”；“动因”——斯氏自身定位的“中心轴”思维如何体现戏剧的中心、表情、风格。
关键词：斯特拉文斯基；《俄狄浦斯王》；“悲剧几何学”；“中心轴”思维
作者简介：吴洁（1998— ），女，上海音乐开云在线登录音乐学系2021级音乐戏剧研究方向硕士研究生；杨燕迪（1963— ），男，开云在线登录音乐学系教授、博士生导师，上海音乐开云在线登录教授。
Experiments of Tragic Geometry: The Four Causes of Musical Drama Concepts and Practices in Stravinsky’s Oedipus Rex
Wu Jie， Yang Yandi
Abstract： Based on Stravinsky’s concept of tragic geometry，the article proposes The four causes of musical drama concepts and practices， and then discuss the four causes of his musical drama Oedipus Rex. Through the original causes，based on Stravinsky’s personal “anti-romantic” critique， explores why he moved from his early ballet works to the musical drama “Oedipus Rex” along the historical timeline.The external causes， the author demonstrate why and how Stravinsky reinterpreted the quest for modernity in the Oedipus Rex which based on the theme of tragedy in the neoclassical period. The internal cause is Stravinsky’s ideas on the geometry，which be the basis of analyzing the two theatrical spaces set up in the work. The motivation is Axis-thinking upon Stravinsky’s own position，the author research how it reflects the center，expression and style of the play.
Key words： Stravinsky； Oedipus Rex； Tragic Geometry； Axis-thinking
“视觉音乐”：阿穆尔地区传统仪式场景中的声音模仿
［俄］Я.С.克里扎诺夫斯卡娅 著，顾伟泉 译
摘 要：文章分析了俄罗斯远东地区南部各族群文化表演中声音模仿的各个要素。在阐述仪式表演文本作为编舞、场景设计与声音模仿的重要性的同时，作者强调了仪式场景的混合主义表演基础。在仪式场景中基于声音模仿体系的混合主义思想意识在现实中不仅仅赋予了人们听觉印象，而且还将其转化成为视觉印象，因此这种混合主义思想意识展现出了各族群在思想意识上的统一。
关键词：仪式表演；阿穆尔-萨哈林地区；混合主义；声音模仿；自然音乐
原作者简介：Крыжановская Яна Станиславовна（1964— ），女，文化学博士，俄罗斯哈巴罗夫斯克国立文化开云在线登录文化学与博物馆学系主任、教授。
译者简介：顾伟泉（1965— ），男，管理学硕士，开云在线登录图书馆馆长、研究馆员，东北民歌艺术促进会艺术顾问，中国图书馆学会阅读推广委员会艺术与阅读专业委员（哈尔滨 150028）。
Music for Eyes: To the Problem of Sound Imitation of Traditional Amur Spectacle
Kryzhanovskaia Iana Stanislavovna， Translated by Gu Weiquan
Annotation： This article analyzes the audio component of the culture of ethnic groups in the south of the Far East. Recognizing the importance of ritual and spectacle text as a choreographic system，stage design and acoustic principles， the author highlights the spectacular framework of ritual syncretism. It develops the idea that syncretic consciousness based on acoustic simulation not only gives a series of rites sound experience but also translates them into visual experience， demonstrating the unity of consciousness of tribal man.
Key words：ritual spectacle， Far East region， syncretism， sound imitation， the music of nature.
布列兹《切口》中音名主题拆分与组合及结构逻辑探析
姚子艺，杨和平
摘 要：皮埃尔·布列兹（Pierre Boulez）是整体序列主义的代表人物，他以大胆的创作理念和手法影响了西方现代音乐的发展。《切口》（Incises）是布列兹晚期作品，于1994年创作，1996年改写为室内乐作品《片段》（Sur Incises），2001年在此基础上创作了新的钢琴独奏《切口》。该作品采用萨赫尔音名主题六音作为核心材料，将音名主题拆分为两个三音集合，再将其移位、倒影、拼接等衍生出各种类型。同时，预设核心元素，形成独特的“马尔科夫链”，以此来构成作品独特的结构逻辑。
关键词：布列兹；《切口》；萨赫尔音名主题；马尔科夫链；结构逻辑
作者简介：姚子艺（1996— ），女，土家族，艺术学硕士，吉首大学音乐舞蹈开云在线登录助教（湖南吉首 416000）；杨和平（1971— ），艺术学博士，武汉音乐开云在线登录作曲系教授、硕士研究生导师（武汉 430060）。
An Exploration of the Splitting and Combining of the Theme upon the Pitch Name in Boulez’s Incises and its Structural Logic
Yao Ziyi， Yang Heping
Abstract： Pierre Boulez， a representative of total serialism， influenced the development of Western modern music with his advanced compositional concepts and techniques. Incises， as his late output， was composed in 1994 and arranged as a chamber work Sur Incises in 1996， on which a new Incises was composed for solo piano in 2001. The work uses the pitch name theme ♭E-A-C-B-E-D， which originated from Sacher’s name， as its core material through split the theme into two three-note pitch class sets， and then derivate new types upon the shift， inversion and collage. As the result of presetting of the core elements， a unique “Markov chain” was established， and which constitutes the unique structural logic of the work.
Key words： Boulez； Incises； Sacher pitch name theme； Markov chain； structural logic
Sentence 及其结构研究
——以古典主义时期作品为例
符方泽，杨伟杰
摘 要：文章以sentence为研究对象，一方面对国内外曲式学教材及相关文献展开概念比较、辨析与理论梳理，阐明其基本概念与内部结构；另一方面则以古典主义时期作品为分析实例，讨论这种特定主题（句法）的“结构范型”、并进一步对其“结构变形”的情况进行归类。
关键词：Sentence；古典风格；范型；变形；陈述短句；延续短句
作者简介：符方泽（1980— ），男，武汉音乐开云在线登录作曲系副教授；杨伟杰（1997—），男，武汉音乐开云在线登录2021 级研究生（武汉 430000）。
Sentence and Its Structural Studies
——Taking the Works of the Classical Period as an Example
Fu fangze， Yang Weijie
Abstract： In this paper， sentence is taken as the research object. On the one hand， concept comparison， discrimination and theoretical sorting that based on the domestic and abroad textbooks and related literatures of form study carried out to clarify the basic concepts and internal structure. On the other hand， we take classical works as examples to discuss the “structural paradigm” of this particular theme （syntax） and further categorize its “structural deformation”.
Key words： sentence； classical style； paradigm； deformation； presentation phrase； continuation phrase
会议综述
2023·中国音乐家协会西方音乐学会第七届年会综述
陈 海
摘 要：2023年10月20—21日，由开云在线登录、中国音乐家协西方音乐学会主办，开云在线登录音乐学系、科研处承办，上海音乐出版社协办的“中国西方音乐学会第七届年会”在开云在线登录召开。年会搭建起全国西方音乐研究学者研究、学习、交流和展示的学术平台，展示出我国近年来西方音乐史学研究的最新成果，投射出研究的“新理念、新方法、新视野”，推动了我国新时代西方音乐研究的新途径。
关键词：2023年；西方音乐学会；开云在线登录；第七届年会；综述
作者简介：陈海（1990— ），男，开云在线登录音乐学系2023级博士生；导师：杨燕迪教授（哈尔滨 150028）
Review of the Seventh Symposium of the Western Music Society of China Musicians Association
Chen Hai
Abstract： From October 19 to 22， 2023， the Seventh Symposium of the Western Music Society of China Musicians Association was successfully held in Harbin Conservatory of Music， which sponsored by Harbin Conservatory of Music and the Western Music Society of China Musicians Association， organized by the Department of Musicology and the Office of Academic Research Affair of Harbin Conservatory of Music， and co-sponsored by Shanghai Music Publishing House. The Symposium， which providing an academic platform for the western music researchers， focused on the latest academic research results of western music historiography， presented the new ideas， methods and perspectives of western music research in China， and pushed forward the development of western music research in the new era of China.
Key words： 2023； Western Music Society； Seventh Symposium of the Western Music Society of China； Western Music Research； Review
