Rachmaninoff, a “conservative” composer of twentieth-century music, has long enjoyed high reputation in the performance market and among the general public, but he has also been severely criticized by professional musicians and critics. This paper presents an overview of Rachmaninoff’s reception history in four areas（performance market and public reception, academiccritical attitudes, the situation in the Soviet Union, and the current situation in China and worldwide） and provides critical interpretations. Then the author considers the methodological implications of Rachmaninoff’s reception history and the related aesthetic issues of composing creativity.
Took the theoretical and practical study of music’s Acoustic-Spatial as the research object, the article explores its spatial turn which happened in the 20th century, and to discover its history, basic connotation, and its manifestation in different disciplines. Inspired by theories of psychology, cognitive science, and kinetic theory, the author discusses the representation of acoustic-spatial from the perspective of the primary auditory perception of music, such as pitch system, rhythm system, and texture system.
Gandharva and Kinnara in the ancient Indian myths and legends are the main images of the Flying Apsaras. As two music and dance gods of the Eight Heaven Dragon Gods, they are mostly appeared on the top of the stupas and in Buddhist statues of cave temples. In early Indian cave statues, the image of the two gods have undergone Gandhara, Motsutra and other stylistic changes which have distinguished gender differences. In the Sui Dynasty murals at Dunhuang, the images of the two gods were absorbed a lot of local cultural elements such as Daoist priest, folk acrobatics, and Chinese gigaku. So their sculptures not only differed greatly from the ordinary Indian image, but also represented as the two gods combined as one or indistinguishable images. These changes can be described as from the “sculptures” to “imagery”, and they reflect the localization trajectory of Buddhism in China.
音乐教育高质量发展是一种新的发展观，需要以创新为动力，以优化结构、深化改革、强化保障等为特征。“加快建设高质量教育体系”是党的二十大对高等教育提出的根本要求，是高等音乐院校当前和今后相当长一个时期教育改革发展的战略任务。
党的二十大报告首次把教育、科技、人才进行统筹安排、一体部署，并且单独列章阐述，指出“教育、科技、人才是全面建设社会主义现代化国家的基础性、战略性支撑”，强调“深入实施科教兴国战略、人才强国战略、创新驱动发展战略”。这一新的集中表达，对于我们深刻理解教育优先发展的丰富内涵和时代要求、深刻认识新时代教育的历史性成就和历史性变革、准确把握党的二十大对教育工作的整体部署具有极强的指导意义。
党的二十大报告指出：要弘扬民族精神、发展先进文化，不断坚定文化自信，走向文化自强。哈尔滨音乐学院民乐系结合学院办学定位，立足实际，致力于弘扬创新民族传统和现代音乐文化，探求音乐艺术领域新知，以培养品德优良、专业优秀、气质优雅的高水平器乐表演人才为己任，为坚定文化自信、文艺自信，高雅艺术服务社会和龙江区域发展战略作出贡献。当前，在我们的工作中，积极探索“多位一体”融合式“思政+”的工作模式，充分激发各项工作发展动能，把思政工作与教育体系建设、专业建设、队伍建设、业务融合，重点推进以下工作：
The poems of Li Bai are famous through the ages. The surveys of his poems are mainly from the view of literary, but in fact the poems on music are an essential component in Tang Dynasty’s poems. Based on selecting the poems contained criticism about music from thousands of Li Bai’s works, the article examines them by means of music criticism theory. The preliminary analysis will open up a new territory for the music criticism.
As an important part of modern scholarship, the book reviews work as dual roles, i. e.publicity and academic evaluation. Modern Chinese music book reviews developed from the early years of the Republic of China, and the academic reviews appeared in the New Culture Movement.Now we can find about 130 music books review which published before 1949. They can be classified as: 1. Introduction and brief review; 2. Academic book review; 3. Preface and commentary by others; 4. Introductions and review of foreign music books. The academic value of modern Chinese music book reviews lies in: 1. As a “secondary text” of music books, they supply and correct the historical events of modern Chinese music; 2. As the musical scholarship literary, they are the medium for assessing the value of modern academic music research; 3. The musical ideas and critical spirit in them have the value as the thinking history which bridge the ancient and the modern times.
2023年是拉赫玛尼诺夫（1873—1943）的“大年”——这位俄罗斯音乐家迎来诞辰150周年和逝世80周年，世界各地均举行各类活动和专题音乐会以志纪念。本刊特此开辟“纪念拉赫玛尼诺夫诞辰150周年专栏”，希望推动中国语境中的拉赫玛尼诺夫研究，引介最新的拉赫玛尼诺夫研究成果，也与国际音乐界的纪念形成呼应。哈尔滨音乐学院作为一所年轻而富有朝气的专业音乐学院，自建院伊始，即把对俄交流、向北开放作为学院办学的重要理念和突出特色，并在具体的办学实践中予以贯彻实施。
Quadrophenia, a conceptual album released by the British rock band The Who in 1973.It tells the story of a young Mod, Jimmy, who was disturbed, agitated and disillusioned. The lyrics are full of intertextual and metaphorical. The album has 17 tracks, four musical themes that cohere through the album, and ambient sounds using field samples on most tracks. The article analyzes the interaction of multiple texts in the album and discusses the multiple conceptual themes involved in the album.
The harmony language of the Russian composer Mussorgsky can be seen as innovative in the context of his period, even some of his technique was ahead, what prominent in the application of the skill on modes and tonality. Based on the research of Mussorgsky’s use of novel tonality technique which he maintained in the tonal tonality, and which especially focus on the practice of pannaturalism, pedal-point tonality, bitonality and the other three techniques, the article analysis the stylization of the tonal characteristics emerged which upon his new technique in his works.
Intermediality is an kind of intersymbol phenomenon that cross media and beyond intertextuality, it refer to the relationship between same or different media as well as to noteworthy or unique intra-structural phenomena in the same work/group of works. While media are self-contained and relational, the intermediality reflects the paradigm of universally connected media thinking under a holistic philosophical perspective. Attention to intermediality is an objective requirement for understanding the contemporary nature of music education and a need for the subject to develop a holistic embodied cognition of music. Attention to intermediality in music education helps the subject to gain multidimensional aesthetic experience and activate musical association in music practice, to realize embodied cognition a priori, to establish its own internal order, and to realize itself in the process of generating musical meaning. The strengthening of intermediality in music education can also create new ideas to enrich music teaching methods, revitalize teaching forms and deepen teaching goals.
Took the musical cultural remains（musician figurines） excavated from the M2 Tang tomb and the tomb of Sun Ze of the Tang Dynasty which discovered in Textile Factory and in the Fiber Factory in Chaoyang, Liaoning Province respectively as research object, and viewed from the Silk Road and the Liaoxi Corridor, the article explores the combination forms of the musical figurines, the characteristics of the musical instruments. Furthermore, the author discoveries the musical cultural exchange and integration situations reflected by them. The conclusions are that the “player figurine” in Tomb M2 should be the “Lying Khonghou figurine”, cause the ensemble form of Chinese Gigaku coincides the characteristics of “Koryo music” in the Seven Bu Music, Eight Bu Music, Nine Bu Music（Bu means kinds） of the Sui and Tang dynasties; the horse-riding musician figurine in Sun Ze Tomb are the first discovery of musical culture in the Chinese northeast. At end, the author concludes that these remains belong to the cultural exchange system between Northeast China and Central China during the Tang Dynasty along the Silk Road and the Liaoxi Corridor.
Tszo Chzhenguan, the famous Russian composer, had published “Symphony Orchestra in Russia” in People’s Music in 2003, now is about 20 years. So based on the facts that the Russia has experienced great changes, the author examined the current situation, development, and problems of Russian’s orchestras.
党的二十大锚定了教育发展新方位，提出了发展文艺事业的原则要求，高等音乐教育应站在“两个大局”的历史方位上，始终坚守中国式现代化所赋予的时代使命，勇担“为党育人、为国育才”的历史重任，始终胸怀“国之大者”，高举文化强国大旗，锚定国家所需、行业所需、未来所需，不断推动行业、地方、高校的互利同赢、协同发展，服务国家文化自信自强，办人民满意高等音乐教育。
Reception of Charles Ives’s Concord Sonata has principally focused on the work’s use of collage techniques and its references to figures associated with American Transcendentalism. Christopher Bruhn has expanded this focus by invoking William James’s idea of “the stream of thought” or “consciousness” as a way of approaching the work. In this paper, the author develop the concept of “the stream of thought” alongside the analysis of musical quotations and Ives’s notion of “vague remembrance,” as expressed in his Essays before a Sonata, to demonstrate how Ives has adapted the Lisztian technique of thematic transformation to create a sense of ambiguous memory. This paper argues that the “local” analysis of citation and collage in Ives’s work can benefit from a broader formal perspective shaped by the work of William James and Liszt.
Ritual music in Qing Dynasty is divided for official ceremonies and for folk ritual activities. Based on the examination of the music of Shidian rites, the article proofs this official rites and music system of the Qing Dynasty had inherited the tradition and developed upon the coalescing from the Song and Ming dynasties. So they constituted the traditions of Chinese rites and music thought of political governance together. The folk rites are deeply influenced by the Zhuzijiali [Zhuzis’ Rites], which can be traced back to the Northern Song dynasty thought that “Rites do not for the common people”. And the music for the clan rites can be found in Shijing, for example, the Ernan has great influenced in the history.
The Russian composer Rachmaninoff had lived abroad since 1917, and his musical output were significantly reduced. The Symphonic Dances, which be seen as his “swan song”, was one of his six works in this period. Rachmaninoff not only presented highly recognizable lyrical melodies in this work, but also referenced many musical themes from his earlier works, fully demonstrated his typical compositional style. By the themes of Dies irae and All-Night Vigil in this work, the composer re-emphasized the centrality of religious elements, and at meanwhile deepened its emotional connotation.
Professor Plantinga’s Romantic Music: A History of Musical Style in Nineteenth-Century Europe, as an important nineteenth-century Stylistic history, breaks the constraints and reflects a more forward-looking approach to music history. Through the reviews of this book, the author is trying to reflect on some important issues worthy of attention in the current music historiography research from its academic value and limitations.
党的二十大胜利召开，为我国各项事业的日后发展划定蓝图。作为一名音乐人，一位哈音人，在学习贯彻党的二十大精神的过程中必然时常反省自己并扪心自问，如何在哈音的具体办学过程中践行党的二十大所提出的宏伟纲领，又如何在自身的具体工作中落实党的二十大的精髓要旨。
