中俄音樂交流與俄羅斯音樂研究
論俄羅斯的音樂崛起：宏觀考察及對中國音樂發展的啟示
楊燕迪
摘 要：文章針對19世紀中葉以來俄羅斯音樂在世界樂壇上的迅速崛起這一歷史現象，從宏觀思辨的視角討論作曲家個性風格的形成和凸顯對于推動俄羅斯音樂發展的價值和作用。作者進而以穆索爾斯基、拉赫瑪尼諾夫和肖斯塔科維奇三位不同時期的作曲家的個性風格和獨特貢獻為個案例證，闡發了個性風格的內在重要性及對于中國音樂未來發展所具有的意義。
關鍵詞：俄羅斯音樂；音樂創作；個性風格；中國音樂
On Rise of Russian Music: Macroscopic Observations and Their Implications for Development of Chinese Music
Yang Yandi
Abstract：The article discusses the historical phenomenon of the rapid rise of Russian music in the world music scene since the mid-19th century by way of macroscopic observations,with special reference to value and role of composers’individual styles in promoting the development of Russian music.The author then chooses the individual styles and unique contributions of three composers from different periods,Mussorgsky,Rachmaninoff,and Shostakovich,as case examples,to illustrate the significances of composers’individual styles and their implications for the future development of Chinese music.
Key words：Russian music；music composition；individual style；Chinese music
蘇俄音樂中的中國文化
［俄］左貞觀
摘 要：俄羅斯作曲家（包括蘇聯時期）創作了一系列以中國形象為主題的作品。文章從“概念化”的中國到文化上的中國談起，論述了19世紀作品中概念化的“中國”、20世紀初俄國杰出作曲家謝·瓦西連科（С. Василенко，1872-1956）作品中的中國音調、萊·格里埃爾（Р. Глиэр，1874-1956）《紅罌粟花》中的文化誤解、扎杰拉茨基（В. Задерацкий，1891-1953）作品中異國文化的精神救贖、僑民作曲家對中國文化的深刻理解，進而論及中蘇“蜜月期”根據中國詩詞譜寫的聲樂作品，跨越民族界限的中國文化，以及左貞觀跨越民族文化界限的“中國作品”。
關鍵詞：俄羅斯；蘇聯時期；作曲家；音樂；中國形象
Chinese Culture in Soviet Russian Music
Tszo Chzhenguan
Abstract：Russian composers（including in the Soviet period）composed some works that themed Chinese image. Discriminated the “Preconceptualized” China and China in the culture aspect,the rticle discusses the following topics：Preconceptualized “China”themes in the 19th-century Russian music works，the Chinese tones in the composition of early 20th-century Russian outstanding composer S. Vasilenko［С. Василенко，1872-1956］，the misunderstandings of China culture in R. Gliere’s［Р. Глиэр，1874-1956］The Red Poppies，the redemption of foreign cultures in V. Zaderatsky’s［В. Задерацкий，1891-1953］works，the discerning reading of China culture by diaspora composers. And then the author discoveries the vocal works with Chinese poetry composed during the“honeymoon period”of China and the Soviet Union. The author，as a composer，introduces the cross-nationality Chinese culture and explains his“Chinese Work”in this area.
Key words：Russia；Soviet period；composer；music；Chinese image
古拜杜林娜的鋼琴曲《恰空》
錢亦平
摘 要：俄裔德籍作曲家索菲婭·古拜杜琳娜（София Губайдулина, 1931-）是當今蜚聲國際樂壇的一位“重量級”女性作曲家，她受約并題獻給蘇聯鋼琴家瑪·維·姆基瓦妮（Марина Викторовна Мдивани，1936-）的鋼琴曲《恰空》創作于1962年，出版于1969年。這首作品雖為古拜杜林娜最早期的作品之一，其中爆發的熱情、獨特手法的沖擊、令人回味的意境使人難以忘懷，顯示作曲家在初涉作曲領域的奮發有為、昂揚意氣和初生牛犢之虎勁。
關鍵詞：索菲婭·古拜杜琳娜；鋼琴曲《恰空》；變奏套曲
Sophia Gubaidulina’s piano work Chaconne
Qian Yiping
Abstract： Sophia Gubaidulina [София Губаи?дулина 1931-], Russian-German, now is a predominant influenced female composer in the world. Her commissioned piano work Chaconne, dedicated to the Soviet pianist Marina Viktorovna Mdivani [Марина Викторовна Мдивани, 1936-], was composed in 1962 and published in 1969. Although it is one of Gubaidulina’s earliest works, the Chaconne impressed people since its bursting of enthusiasm, tension upon the unique technique and evocative artistic conception. It not only demonstrates Gubaidulian’s sparky energy and youthful spirit at her beginning in the composition area, but also indicates her future vigor.
Key words： Sophia Gubaidulina；piano work Chaconne； Variation Suite Partita
抗戰時期俄蘇音樂在中國的傳播（上）
林 媛
摘 要：抗戰時期，俄蘇音樂在中國出現了一次傳播高潮。這一傳播高潮以中蘇重新修好為背景，呈現出跨越黨際、以聲樂體裁為主、逐漸向音樂專業內部過渡的傳播特點。這一時期俄蘇音樂對中國音樂創作產生的影響雖然局限于“旋律層”，且帶有明顯的實用主義色彩，但是俄蘇音樂在微觀技術層面促進了中國音樂在技術語言上表達群體情感的準確性，具有象征意義的旋律音調為下一個具有“排他性”的友好序列的最高峰做了一次歷史性的鋪墊。
關鍵詞：抗戰時期；蘇聯；俄蘇音樂；抗戰歌曲；傳播
The Dissemination of Soviet Russian Music in China during the Anti-Japanese War Period
Lin Yuan
Abstract： During the Anti-Japanese War, the dissemination of Russian-Soviet music in China had a climax which based on the restarting diplomatic relations between China and the Soviet Union. This propagating charactered cross parties and transit into professional music area, and the major genre of it is vocal music. Pragmatism obviously, Chinese music is only influenced by Russian-Soviet on melody in this period, but observing the micro composition technique, the Russian-Soviet music promoted Chinese music language on the accuracy expression of masses emotions indeed. The symbolic melody paved the way historically for the next highest friendship peak which is exclusiveness.
Key words：Anti-Japanese War period；Soviet Union；Russian-Soviet music；Anti-Japanese War songs；dissemination
東北亞地區音樂研究
滿族薩滿祭祖儀式音樂發端的現象學探源
關 杰
摘 要：現象學之意向性理論是胡塞爾最偉大的發現，是20世紀西方流行的一種哲學思潮，它跳出傳統哲學以主客二元模式為前提而展開的哲學思維閾限，在世界范圍產生深遠影響。意向性揭示了人的意識思維的獨特性質和發生根源，揭示了人的意識的被給予性特質。該研究從意向性理論視域對“滿族薩滿祭祖儀式音樂”進行解讀，詮釋該儀式音樂發端的被給予性及其儀式音樂生成的背后根源。
關鍵詞：胡塞爾；現象學；意向性理論；薩滿祭祖儀式；儀式音樂；發端
The Phenomenological Research of the Manchu Shaman’s Ancestor Fete Music Origination
Guan Jie
Abstract：The intentionality theory of phenomenology is the greatest discovery of Husserl. As a western popular philosophy tendency in 20th-century, the theory has a profound influence in the world since it broke the liminal mindset of traditional dualistic model philosophy which premised with the subject and the object. Intentionality can not only reveal the unique nature and origin of human consciousness but its peculiarity of givenness. With the intentionality theory, the article explains the Manchu Shaman ancestor fete music, interprets the givenness of its origination and discovers its related root.
Key words：Edmund Gustav Albrecht Husserl；phenomenology；theory of intentionality；shaman ancestor fete；ritual music
由遠眺到近觀
——我與東北少數民族暨跨界族群音樂研究30年
楊民康
摘 要：三十年來，作者與東北少數民族暨跨界族群音樂學界的不斷交往，通過小溪匯河海，潤雨細無聲的路徑，融鑄了自己由南而北，由內向外，從中國至周邊走向全球的整體藝術觀和世界文化觀。且經由遠眺到環視，再到實際操演的過程，完成了自己涉足東北少數民族暨跨界族群音樂研究與教學的經歷和體驗。文章結合歷次參加中韓、中日音樂學術研討會，中國與周邊跨界族群音樂學術研討會和指導研究東北、東北亞音樂博士、碩士論文的經歷和體驗，討論了相關的研究現狀、目前存在的問題和對未來趨向的展望。
關鍵詞： 東北少數民族；跨界族群；研究現狀；存在問題；未來趨向
Researches on Music of Ethnic Minorities in Northeast China and Cross Ethnic Groups and my Experiences Recent 30 Years
Yang Minkang
Abstract：Based on the constant exchanges with the musicology circle which focus on music of ethnic minorities in northeast China and cross-ethnic groups recent 30 years, the author has gradually formed his individual views of overall art and world culture, which included the research of Chinese southern and northern music, domestic and abroad music that from China and its neighbors to the whole world. Upon the process that from overlook to look around and then practice, the author has completed the research and teaching experience in this area. With the experiences that participating in seminars about China-Korea music, China-Japan music, China and its surrounding cross-ethnic group music, and guiding doctoral and master’s thesis about music of northeast China and northeast Asian,the author also discusses the relevant research status, current problems and prospective tendency of them.
Key words：Northeast ethnic minorities; cross-border ethnic groups; research status; existing problems; future trends
不同文化對話背景下的遠東音樂：歷史與現實
［俄］?！ぇ ?span style="color: rgb(0, 0, 0); font-family: 微軟雅黑; font-size: 10.5pt;">科羅廖娃著，顧偉泉譯
摘 要：文章探討了不同文化之間的俄羅斯遠東地區、中國和日本在音樂空間中的互動問題。作者揭示了在俄羅斯遠東文化形成過程中非專業的聽眾和專業的音樂家，對異己文化的傳統音樂的理解程度和感受形式呈現出多層次性的特點，闡述了俄羅斯音樂家對遠東地區音樂文化發展所做出的貢獻。
關鍵詞：俄羅斯遠東；音樂；歷史；文化
Music of the Far East in the Inter-civilization Dialogue: History and Today
V.A. Korolyova translated by Gu Weiquan
Abstract： The article scrutinizes the inter-civilizational interaction within the musical sphere of the Far East o Russia, China and Japan. The author reveals the differences in perception and adoption of music of the other cultural tradition by both unsophisticated audience and professional musicians in the framework of forming Russian Far Eastern culture, together with the contribution of Russian musicians to the cultural development of the countries of the Far Eastern civilization.
Key words：Russia；Far Eastern music；different cultures；history；culture
音樂學學科前沿研究
教學的分科與研究的綜合
——我所向往的音樂分析學
李吉提
摘 要：音樂作品是由多種作曲技術手段共同結構而成。但音樂學院的作曲技術理論又被分為和聲、復調、曲式與作品分析、管弦樂配器等四門課程，其自成系統地分科教授。音樂分析學是打破作曲系從音樂形式結構入手的技術分析與音樂學系的史學、美學、社會學等人文學科中音樂分析之間的隔膜，以實現對音樂作品的本質認識和生動解讀。
關鍵詞：音樂分析學；教學；科研；分析；綜合
Classified Teaching & Integrated Research
— The Music Analytics I Expect
Li Jiti
Abstract：Music works are structured by a variety of composition techniques. However, the music theory teaching in Conservatory of Music is divided into four courses, i.e. harmony, polyphony, form & music analysis and orchestration, which are taught in individual system. Music analytics aims at breaking the barriers of the analysis methods between composition department and musicology department. The former emphasizes on the technical analysis based on music form and structure, and the latter focuses on humanities such as history, aesthetics, and sociology. So do that, the music analytics will realize the essential exploration and attractive interpretation.
Key words：Music Analysis；Teaching；Research；Analysis；Synthesis.
中國音樂美學：現狀與前瞻（上）
羅藝峰
摘 要：文章觀察討論了21世紀前20年中國音樂美學的現狀和存在的突出現象，前瞻擬測了本學科可能的未來發展，提出了中國經典音樂美學、傳統音樂美學、中國音樂美學史以及中國音樂思想史諸學科的分立、互融、相楔的學科狀態。思辨的問題是：作為最富批判精神、最具思想性質的人文學科，音樂美學如何保持自己的學科品格？理論建設與理論運用是什么關系？介入性美學與自足性美學的意義和價值區別何在？“批判理論”的闕如和不足為什么會影響本學科的發展？本文對中國音樂美學態勢的觀察，與作者對本學科的期待有密切聯系。
關鍵詞：中國音樂美學；現狀；前瞻；擬測
Chinese Music Aesthetics: Current Situation and Prospects (Part A)
Luo Yifeng
Abstract：Scrutinizing the situation and prominent phenomena of Chinese music aesthetics in the first two decades 21st century,the article predicts the possibilities of the discipline. The author suggests its subdisciplines, including Chinese classic music aesthetics,traditional music aesthetics,Chinese music aesthetics history,and the thought history of Chinese music,should be in an independent,integrate,and mutual supporting status. The author also contemplates these questions: As the most critical and ideological humanities,how does music aesthetics maintain its own disciplinary character? What is the relationship between the theory construction and application? What is the difference of the meaning and the value between the interventional aesthetics and self-contained aesthetics? Why do the deficiencies of “critical theory” affect the discipline development? At last, the observation of Chinese music aesthetics research tendency in the article is closely related to the author’s expectations of the discipline.
Key words：Chinese music aesthetics；current situation；prospects；predicts
路漫漫兮夜茫茫 行匆匆兮字行行
——音樂學寫作并及音樂美學學科語言問題討論
韓鍾恩
摘 要：文章就理論術語與概念體系問題提出看法，并結合音樂美學專題研討會有關音樂與語言問題展開討論。作者認為，音樂學寫作必須關注特定術語的概念性建構，而音樂美學也必須建構僅屬于其研究對象自身的專屬性學科語言。進一步，通過個案作業加以驗證，并提出依托學科間性合力推進相關研究的設想。
關鍵詞：音樂學寫作；音樂美學；學科語言；學科間性合力
Discussion of Musicology Writing para-with Music Aesthetics Discipline Language
Han Zhong’en
Abstract：Surveyed the problem of theoretical terminology and system of concepts, the article discusses the topics of music aesthetics symposium which about music and language. And then the author gives the suggestions: musicological writing must strengthen the conceptual construction of specific term,as well as the music aesthetics should have its own construction that the discipline language should belong to its research object only. Verified through the individual research,the author furthermore proposes that the discipline should rely on interdisciplinary synergy to promote its related research.
Key words：Musical Writing；Language of Music Aesthetics；Interdisciplinary Synergy
音樂史學研究
音樂歷史研究中的審美意識及其書寫
馮長春
摘 要：“歷史的審美化”和“審美的歷史化”的音樂史學觀念依然具有值得重視的理論價值。音樂歷史研究中審美意識不可或缺，其本質具有詮釋學的“效果史”意義。提倡音樂歷史研究帶有審美意識和美學品格，并非混淆音樂史學與音樂美學的研究范疇和學科邊界，而是強調音樂歷史研究具有審美體驗的溫度和美學言說的風度。音樂歷史書寫的美學言說，可以是基于經驗而蘊含審美意識的感性描寫，也可以是超于感性經驗的美學闡釋，抑或是兩者的有機交融，同時也是音樂歷史中的審美意識和歷史音樂的現時審美體驗的結合。對于中國近現代音樂史研究而言，這一學術理念具有積極的現實意義。
關鍵詞：音樂史學；審美意識；美學言說
The Aesthetic Consciousness and Writing in Music History Research
Feng Changchun
Abstract：The conceptions “history aestheticization” and “aesthetics historicization” of music historiography are still worthy to be concerned since their theoretical value. As an indispensable element music historiography,the aesthetic consciousness essentially play a role as “effective history” of hermeneutics. To advocate both consciousness and character of aesthetic in music history study does not mean to confuse the research domain and subject boundary between music historiography and aesthetics,but to emphasize that music historiography should have the temperature of aesthetic experience and the demeanor of aesthetic writing. The aesthetic statement of music history can be either a sensory description based on experience which containing aesthetic awareness,or an aesthetic interpretation beyond perceptual experience,even an organic blend of the twos,as well as it is a product that combined the aesthetics awareness in music history with the present aesthetic experience of the past music. For the study of modern Chinese music modern and contemporary history research,this academic idea has its positive practical significance.
Key words：music history research；aesthetic consciousness；aesthetic speaking；perceptual description；writing
黃泉碧落間 冥河丹亭畔
——昆曲《牡丹亭》與歌劇《奧菲歐》的涅槃往復
楊九華，曹燁程
摘 要：縱觀中西戲劇的漫長發展歷程，自濫觴起，便被各自推崇的美學思想浸染。昆曲《牡丹亭》，作為中國戲曲的代表，萬古流芳；歌劇《奧菲歐》，作為西方歌劇的源頭，意義重大。以兩者，因愛而行的地獄涅槃之旅為核心線索。拓展至中西方戲劇的創作角度、題材運用、戲劇理論、音樂描繪等方面之異同。以此探求，中西方戲劇的美學內涵。
關鍵詞：昆曲；《牡丹亭》；歌??；《奧菲歐》；異同
The Nirvana in Kunqu Opera The Peony Pavilion and the Opera Orfeo
Yang Jiuhua， Cao Yecheng
Abstract: Throughout the long history developments both of Chinese and Western dramas,they have been immersed in respective aesthetic thoughts since their beginning. As a representative of Chinese opera,The Kunqu Opera The Peony Pavilion has a long time reputation; and the opera Orfeo,as the source of Western opera,is of great significance. Both dramas took the core clue that the journey to the hell and Nirvana for love. Base on the discussion of the similarities and differences in the creative idea,theme application,drama theory,and music description, the article explores the aesthetic connotation of Chinese and Western drama.
Key words: Kunqu Opera；The Peony Pavilion；Opera； Orfeo；Similarities and Differences
中外現當代音樂創作研究
我國民族歌劇創作的新態勢與新局面（上）
——“工程”2017年重點扶持劇目一度創作評析
居其宏
摘 要：《馬向陽下鄉記》《青春之歌》《松毛嶺之戀》《有愛才有家》《英·雄》《鹽神》《蔡文姬》《二泉》《瑪納斯》是文旅部設立“中國民族歌劇傳承發展工程”以來首批入選的重點扶持劇目。對它們的劇本和音樂創作特點、藝術得失進行簡約評析，以期推動“工程”的進一步健康與繁榮。
關鍵詞：“工程”；2017年度；重點扶持劇目；一度創作
The New Tendency and Situation of Chinese National Opera
— Comment and Analysis on the Key Supported Dramas of 2017 · Chinese National Opera Inheritance and Development Project
Ju Qihong
Abstract：The Operas, Ma Xiangyang Goes to the Countryside, The Song of Youth, The Love of Songmao Mountain, Home makes Love, Heroine ·Hero, Salt God , Cai Wenji, Two Springs and Manas are first batch Key Supported Dramas which selected by The Ministry of Culture and Tourism since the establishment of the China National Opera Inheritance and Development Project. Upon the brief analysis of their script and music characteristics, the author estimates their artistic success and failure in general, aimed at promoting the further health development and prosperity of the project.
Key words：China National Opera Inheritance and Development Project; 2017; key supporting repertoires; characteristics of script and music creation; artistic success and failure
中國現代音樂作曲家的追求
姚亞平
摘 要：文章從自擬的“可能性追求”話題切入，探討了中國現代音樂作曲家的音樂追求。在“可能性追求”目光下，音樂具有兩重性：審美體現和價值觀體現。文章認為，普通公眾對現代藝術的種種疑惑和不解，只有在價值觀層面上才可以解答。
關鍵詞：現代音樂；西方音樂；作曲家；可能性追求
The Pursuit of Chinese Modern Music Composers
Yao Yaping
Abstract：Started from the individual proposed topic of “presumable pursuit”, the author discusses the pursuit of modern Chinese composers. Surveying with the view of “presumable pursuit”, the author points out that music has duality of expression, i.e., aesthetic and value. This article considers that the general public’s various doubts and incomprehension about modern art can only be answered with the value expression.
Key words：modern music；western music；composer；presumable pursuit
諾諾《中斷的歌》第六樂章的結構組織
張 磊
摘 要：諾諾《中斷的歌》是一部形式與內容完美契合的作品，基于題材及內容表達著眼于理性構建，鑄就形式之美，整體序列結合數理邏輯的運用，彰顯其縝密的構思，器樂、聲樂并舉形式多樣，展現豐富的音響色彩。本文以第六樂章為例，從樂隊編制、音高、聲部的進入與退出、節奏等方面進行探究，揭示音樂各要素的結構組織及特征，挖掘其理性構建的內在秩序，進而達到進一步理解音樂作品、理解作曲家創作意圖啟示音樂創作的目的。
關鍵詞：諾諾；《中斷的歌》；整體序列；數理邏輯；結構
The Structural Organization of the Nono’s Il canto sospeso, Mov. VI
Zhang Lei
Abstract：Nono's Il canto sospeso is a work balanced the form and content perfectly, its beauty of form is created upon the themed content expression and focus of rational construction. Incorporated with the mathematical logic, the use of integral serial demonstrates the meticulous conception. Orchestrated both with instrument and vocal variously, the work exhibits abundant acoustic colors. Selected the sixth movement as an example, this author scrutinizes the instrument quantity of orchestration, pitch, the entry and exit of parts, rhythm, etc. to reveal the structural organization and characteristics of each element of music, and then explores the internal order of its rational construction. So that the article achieves a further purpose that enlighten music creation based on the comprehending of the works and the composer’s creative intentions.
Key words：Luigi Nono；Il canto sospeso；integral serial；mathematical logic；structure
學術會議綜述
“磬”國際會議上的中國音樂展示與研究述評
宋 瑾
摘 要：“磬”國際學術研討會專事中國音樂文化研究成果的交流。前6屆會議顯示了以中國及周邊地區（有時候甚至擴展到世界各地）過去和現在局部音樂文化現象考察、分析成果，包括傳統音樂各個方面、現代音樂創作等相關樂人樂事，逐漸形成相對穩定的模式，為隨后各屆研討會奠定了基礎。將第19屆會議作為個案考察，可以發現各種形式的交流細節，也提供了需要深入思考的線索，包括外國學者的興趣點，他們如何看待中國音樂現象等。作為民間組織的國際會議，中外學者和音樂家參與交流，對中國音樂文化的國際傳播產生了直接影響。當然，這種方式的研討、展示和傳播往往是碎片化、隨機性的，并有各種“誤讀”，但其可以為我們的相關研究提供他者視角的參照。
關鍵詞：“磬”；中國音樂；國際傳播；他者視角
A Summary of Chinese Music Exhibition and Research on the International Chime Conference
Song Jin
Abstract： The International Chime Conference specializes in the exchange of Chinese music culture research. The first six conferences had presented the investigation and analysis achievements of music cultural phenomena in the past and current China and its surrounding areas (some even included the other areas in the world), covered the various aspects of traditional music, modern music creation,related musicians and events,etc. The Conference has gradually formed a relatively stable model which provided a foundation for the subsequent seminars. Took the 19th Symposium as a case study,the article expounds the various details of the communications in order to provide clues that required in-depth thinking (including the interesting of foreign scholars and how they view the phenomenon of Chinese music,etc.). Scholars and musicians from domestic and abroad communicated at this international Conference which of a non-governmental organizations,their exchange activities will promote the Chinese music culture dissemination in the world. Although the discussion, display, and dissemination in this way are often fragmented,random,and even some “misinterpreting”, they still provide the others’ perspectives as reference for our related research .
Key words： chime； Chinese music； international communication； the perspective of others
音樂與語言·言說音樂的無限可能
——2021·中國音樂美學學會專題研討會會議綜述
馬衛星，梁 帥
摘 要：2021年6月25日-27日，由中國音協音樂美學學會發起，哈爾濱音樂學院主辦，哈爾濱音樂學院音樂學系承辦的“2021·哈爾濱·中國音樂美學學會專題研討會在哈爾濱音樂學院隆重召開。本屆會議以“音樂與語言”為主題，基于學理性、歷史性、實踐性、現代性等研究維度，圍繞現代性視域下“音樂能否言說”“音樂如何言說”等音樂美學核心議題展開研討，立足于中國音樂美學的理論深耕與實踐創新進行多元視角的審視與思考，對推進中國音樂美學學科的建設與發展具有現實意義。
關鍵詞：中國音樂美學學會專題研討會；音樂與語言；多元視角；學理基礎；綜述
Music and Language, the Infinite Possibilities of Speaking Music
— Summary of 2021· China Music Aesthetics Society Symposium
Ma Weixing，Liang Shuai
Abstract：Initiated by the Music Aesthetics Society of the Chinese Musician Association, hosted by the Harbin Conservatory of Music, and undertaken by the Department of Musicology of the Harbin Conservatory of Music, the “2021·Harbin·China Music Aesthetics Society Symposium” held on June 25-27, 2021. The theme of this Symposium is “Music and Language”. Based on the research scope of rationality, historicity, practicality and modernity, the Symposium centered on the core issues of music aesthetics such as “Can music be spoken” and “How music can be spoken” which in the perspective of modernity. Multi-prospectively scrutinizing and deliberating the intensification of Chinese music aesthetic theory and the innovation of practice, the Symposium presents the practical significance of the construction and development of Chinese music aesthetics.
Key words：2021, China Music Aesthetics Society Symposium；Music and Language；Disciplinary Organization；Summary
