摘要
音乐学与音乐表演之间本应是理论与实践的共生关系,在音乐学前卫与多元的蓬勃发展,以及演奏者缺乏批判性的思考等因素下,二者间的鸿沟逐渐加深。本文从音乐学历史语境变迁的角度切入,对"本真性"演奏的影响及争论进行疏理,再依此脉络进一步阐释二者间的矛盾,并提出可能的解决途径——表演诠释学分析的概念。
The mutualistic relationship between Musicology and Music Performance is originally close related, as if the Theory and Performance Practice should work coherent. However, as the diverse and advanced musicology develops, and performers are short of critical thinking by degrees, the gap between them gradually deepens. This article is trying to reorganize the vicissitude from the historical context, and explains the influences and controversy to the performers under the ＂Authenticity＂ movement. Following this thread of thought, the author will further expound the contradiction between them, and propose the possible solution.
出处
《中央音乐学院学报》
CSSCI
北大核心
2015年第2期109-119,158,共12页
Journal of The Central Conservatory of Music
作者简介
谢承峯（1980～），男，台湾籍，汉族，贵州师范大学音乐学院副教授，美国辛辛那提音乐学院钢琴演奏博士。
