关于在院校常规教学中融入“音乐分析学”理念的思考

Some Thoughts on the Introduction of the Concept of ″Musical Analytics″ into Regular Teachings in Universities

“音乐分析学（Musical Analytics）”作为一个独立的学科名称虽然在国外早已有之，但在中国此次“首届全国音乐分析学学术研讨会”不仅是第一次正式提出这一概念，并且给出了明确的定义，即“它是自二十世纪以来逐步形成并发展起来的一门具有新兴、综合、交缘特点和方法论意义的学科，它以作曲理论本体之技术分析为核心，集理论、实践为一体，对音乐及其形态进行全面的分析与认知”。

It is recommended that the concept of ″Musical Analytics″ should be introduced step-by-step into the regular teachings of musical analysis in universities.Experiments can be made in the following aspects:First, the concept of ″musical analytics″ can be used to strengthen the existing regular musical analysis teaching.In most universities and colleges, the courses directly related with musical analysis are those such as ″ Forms″ , ″ Composition Analysis″, or ″Forms and Composition Analysis″.Despite their different names, their content of teaching is basically identical, featuring mainly the musical works of the same historical periods.Analysis of these works is normally made with the structural forms as the key framework and the connection between themes as the main source.However, if the concept of ″musical analytics″ is borrowed, some of these works can even be interpreted in more methods or from more perspectives than the above-mentioned mode.Second, with the help of the open and inclusive concept of ″musical analytics″, the content of teaching can be extended gradually to the extent that all the fine achievements in the history of music development can be covered.The present curricula of music analysis are still focusing on the works written in the same periods while only in a few schools other subjects such as ethnic music, the Middle-Age music and the 20th-century music are included, but only as elective courses.In a sense, the singularity in the content of teaching may easily cause the rigidity of teaching modes, which is one of the main reasons why we are not capable of getting rid of the clichéd ″forms″.Hence, the introduction of ″musical analytics″ is a good opportunity to change this situation.Only when the object of analysis is no longer the ″form″ as the principal element and fundamental starting-point, could we be less and less dependent on it and more ready to explore into and accept a new manner of analysis.For instance, when we face ethnic musical works of various forms and styles, it is obviously difficult to analyze them simply from the scores as some of the works even have no musical notations.It is therefore only possible to find clues from their history and cultural traditions as well as their customs.Another example is the analysis of the Middle-Age or even earlier music in the West with relatively less information from the scores and with perhaps less sophisticated details in techniques.A more accurate interpretation of these musical works is only possible when information is obtained from such fields as literature, rhetoric, anthropology, history, religion and archeology.Musical works written in the same period of time should also be treated individually or separately due to the fact that various composers and their compositions may differ greatly from each other.When the concept of ″musical analytics″ is widely understood and accepted, and when much experience is gathered in adapting to the new teaching content and mode, it is then perhaps the time to change the existing courses of ″Forms″, ″ Composition Analysis″ or ″Forms and Composition Analysis″ into the single name of ″Musical Analytics″, which might be the best solution to the issue of the discipline tile that has for long bothered us.