摘要
20世纪20年代,留学德国的王光祈是我国乃至整个东方比较音乐学的“开山鼻祖”。王光祈比较音乐学跨视域的建构得益于他对中西音乐的具体实践,得益于他对中西音乐史学与音乐理论的洞熟与长期研究,这种跨视域的学术背景、学术结构与学术视野是王光祈从事比较音乐学的基本条件。但是仅仅具备了这些条件还不够,还应当具有从观念上有意识地主动横跨视域的“汇通”能力和话语系统的建构能力,才有具备在世界艺术大格局中建构中国比较音乐学的意识和行为。纵观王光祈的比较音乐学成果,无疑正是在世界大格局中构建的中国比较音乐学,王光祈建构的比较音乐学的学术视野和话语,对当下中国比较音乐学话语体系建构亦有重要的启示意义与价值。
In the twenties of the 20th century,Wang Guangqi,who had studied in Germany,was the founder of comparative musicology in China even in the east.His long time study and deep insight in Chinese and western music history and theory helped him to construct cross-horizon comparative musicology.The cross-horizon learning background and academic structure provided the basic conditions for his study in comparative musicology.Apart from this,his potential in cross-horizon communication and in the build-up of discourse system also contributed to his accomplishment in constructing China comparative musicology within a global frame.His academic view and discourse are of great significance and inspiration for the construction of the discourse system of the present China comparative musicology.
出处
《音乐探索》
2022年第1期41-49,共9页
Explorations in Music
关键词
王光祈
比较音乐学
跨视域话语
Wang Guangqi
comparative musicology
cross-horizon discourse
作者简介
李倍雷(1960—),男,博士,博士生导师,东南大学艺术学院理论系教授,艺术学博士后流动站合作导师(江苏南京211186)。
