摘要
如果从王光祈的《中国音乐史》算起,现代意义上的中国音乐研究已有近百年的历史,硕果累累。但知识的增长需要学者不断地温故知新,既要深化对中国音乐研究内涵的理解,又要调整与拓展研究的方法、视角。拥有国际视野的首要条件是对域外中国音乐研究有所了解。国际视野下的中国音乐研究,不但要对东亚的中国音乐研究有历时性的纵向考察,也要有跨国界的横向观测,这样才能避免学术上的夜郎自大,也不会妄自菲薄地盲目跟着西方的风向转。这样,既可以达到与国际学界平等对话和"争夺话语权"的目的,也可以探寻中国音乐研究的新方向和新课题。
In the past several years, music historians and musicologists in China have stressed the importance ofstudying Chinese music from an international perspective. Yet little effort has been made to understand and appreciatehow aspects of China＇s musical culture are seen and studied by European missionaries, travellers, diplomats, mer-chants, traders and scholars. This article argues that a broadening of scholarly horizon ：in the field of Chinese music re-search should be predicated on a familiarity with the wealth of musical, historical and ethnographic data by all national-ities rather than by Eastern Asian scholars alone. By presenting an overview of European accounts of Chinese musicfrom the late Ming to the early decades of the Chinese Republic and reflecting on them, the article aims to draw atten-tion to the international and interdisciplinary foundations inherent in the study of Chinese music and suggests that thereis now a need to re-think how Chinese music is currently studied.
出处
《中央音乐学院学报》
CSSCI
北大核心
2014年第3期72-89,共18页
Journal of The Central Conservatory of Music
关键词
国际视野
中国音乐研究
本土定位
International perspectives
Chinese Music
Indigenous paradigms
