發(fā)布時間：2018-04-15 16:28

  本文選題：音樂歷史編纂 + 風(fēng)格史　； 參考：《中央音樂學(xué)院學(xué)報》2017年03期

【摘要】：新近出版的諾頓"語境"系列和"劍橋"系列音樂史,明顯突破單一的風(fēng)格史模式,呈現(xiàn)出跨學(xué)科、多視角的文化批評模式。未來的音樂史學(xué)科將會容納多種研究旨趣的存在,面對什么樣的讀者、解決什么樣的問題、史家個人的研究特色,將決定歷史書寫的不同面貌。由多樣性的歷史書寫構(gòu)成的互補(bǔ)性的視域融合,有助于將"他者"轉(zhuǎn)化成一種建設(shè)性的因素,有效避免音樂史曾經(jīng)非此即彼的排他性與片面性。
[Abstract]:The newly published Norton "context" series and "Cambridge" series of music history obviously break through the single style history model and present a cross-disciplinary and multi-angle cultural criticism model.In the future, the subject of music history will accommodate the existence of many kinds of research purport, what kind of readers and how to solve the problems, and the characteristics of historians' individual research will determine the different features of historical writing.The complementary horizon fusion composed of diverse historical writing can help to transform the "other" into a constructive factor and effectively avoid the exclusiveness and one-sidedness of one or the other in the history of music.
【作者單位】： 中央音樂學(xué)院音樂學(xué)系;
【分類號】：J609.1
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本文編號：1754892