文艺复兴音乐断代史的分期问题

On Staging of the Renaissance Period in Music History

在文艺复兴音乐断代史的编纂中,历史分期是著者首先要面临的问题:文艺复兴时期的边界如何确定?时期内部音乐演变的阶段性怎样划分?这不仅是这一领域历史研究与写作的传统的积淀,而且更体现出历史编纂者们观察问题的视角,及所采用的学术原则和方法。奥地利音乐历史学家安布罗斯最早把15、16世纪作为一个整体看待,为文艺复兴音乐断代的奠定基础。以里曼为首的一些德国音乐学家则主张把14世纪划归文艺复兴。然而20世纪大多数历史学家还是遵循了安布罗斯的分期传统。在断代内部阶段划分方面,里斯、布朗、阿特拉斯、珀金等的音乐断代史著则依据各自的编史原则对内部分期进行了不同的处理。

In the compilation of the Renaissance music history, the historical stage is the first problem for historians: How to determine the boundary of the Renaissance period? What are the stages of the evolution of music? This is not only an accumulation of the tradition of historical research and writing in this field, but also a reflection of the perspectives and academic principles and methods adopted by the historians. Ambrose, the Austrian historian of music, first viewed the 15 th and 16 th centuries as a whole, which laid the foundation for the dating of music in the Renaissance. Some German music scholars, led by Riemann, advocated the classification of the 14 th century as Renaissance. Yet most historians of the 20 th century followed the Ambrose’ tradition of staging. In terms of the division of the internal stages of dating, the music dating history books written by Gustave Reese, Judith Brown, Allan Atlas and Perkin Warbeck, etc. deal with the internal stages differently according to their respective principles of compiling history.