本文選題：楊黃 + 中國古代音樂史�。� 參考：《音樂研究》2017年05期

【摘要】：正楔子大約二十余年前,已有"楊黃學(xué)派"提法在京城學(xué)術(shù)圈流傳,始作俑者無稽可考,有人或戲稱為"楊黃家風(fēng)"。無論如何,這一概念是否具有合理性、科學(xué)性,在21世紀(jì)史學(xué)實(shí)踐中是否經(jīng)得住歷史檢驗(yàn),發(fā)揮其史學(xué)指導(dǎo)作用,筆者提出淺陋之見,請同行學(xué)者、專家批評指正。楊蔭瀏(1899—1984)是民國年間橫空出世的國樂大師和音樂史學(xué)泰斗。我在1980年5月參加"中國古代音樂史座談會"期間,觀摩甘肅省歌舞劇院演出大型民族
[Abstract]:More than 20 years ago, the "Yang Huang School" was widely used in the academic circle of the capital. In any case, whether this concept is reasonable and scientific, whether it can stand the historical test in the practice of history in the 21st century and give play to its guiding role in historiography, the author puts forward a shallow and humble view, and invites scholars and experts to criticize and correct it. Yang Ying-liu (1899-1984) was a great master of national music and a master of music historiography in the Republic of China. I attended the Forum on the History of Ancient Chinese Music in May 1980, and watched the Gansu Provincial Opera and Dance Theatre perform large ethnic groups.
【作者單位】： 山東師范大學(xué);
【分類號】：J609.2
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本文編號：2118370