比较音乐学

Comparative Musicology

比较音乐学的基本理念奠定了中国民族音乐学学科发展的基础。至今,比较音乐学由最初的学科属性逐渐转化为一种研究方法,并成功实现了在地化。其音乐比较的方式促进了从乐律、音阶到全方位音乐形态研究的发展。“进化论”思潮使音乐研究从逆向考证走向顺向变迁,并产生了历史与当下双向接通的研究观念。“传播学派”思潮使研究视域逐渐扩大,由色彩区研究走向跨界研究,进而将路文化研究提升到方法论层面,不仅关注音乐形态的传播与变迁,还关注乐人的文化身份建构。可以说,该学科是在对“进化论”“传播学派”的不断反思中逐渐成熟,不仅将国外的研究观念和中国具体实践相结合,还在对“欧洲音乐中心论”“汉族音乐中心论”的反思中促进了世界民族音乐研究、中国少数民族音乐研究专业的建设。

The basic concept of comparative musicology is the foundation of the disciplinary development of Chinese ethnomusicology.Comparative musicology has developed from a character of the subject into a methodology which is well localized.The method of comparative musicology advances the development of temperament,musical scale and comprehensive musical morphological studies.Under the ideological trend of“evolution”,musical studies developed from backward investigation to forward transformation,which formed a two-way research concept connecting history and present.The ideological trend of“diffusionist school”expends the research scope from color zone to transboundary research,which promotes the study of road culture to the level of methodology.This trend pays attention not only to the dissemination and change of musical forms but also the identity building of musicians.Therefore this subject became mature during the continuous reflection of“evolution”and“diffusionism”.This subject not only combines overseas research concepts with Chinese reality but also advances the construction of world ethnomusicology and Chinese ethnomusicology during the retrospection of“Euro-centric musicology”and“Han-centric musicology”.