学术讲座 《百年历程，历久弥新：贝多芬在中国》
Academic Lecture He is Still Alive: Beethoven in China
主讲人：张乐心
Lecturer: Zhang Lexin
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讲座简介
传统音乐史研究的关注重点大多集中于音乐的创作，集中于“创作者-作品”这一维度，而今天人们越来越发现，一部作品被创作出来之后还有漫长的生命力，音乐作品并非像历史事件那样，一经发生便成为久远的过去，而是一直保持着鲜活的生命力，被历代接受者反复演奏、欣赏、评价和阐释。更有意思的是，这些解读常由于接受者所处的时代、所具有的民族、文化背景、知识结构、音乐审美经验等诸多因素的不同而不断变化，最终，“接受”作为音乐传承过程中不可或缺的环节，会显在或潜在地影响着作曲家的创作风格、音乐作品的传播与发展趋势，从而对整个音乐历史的走向产生影响。因此，除了关注作曲家与作品的维度之外，在音乐作品与接受者这一维度，我们尚有大量需要研究的课题。
自20世纪初贝多芬开始被国人所熟知以来，他逐渐成为人们心目中西方文化的一种象征或先行者，他在中国的接受与传播态势伴随着中国近代社会的变迁而跌宕起伏。在不同历史阶段，中国人对贝多芬的关注、评价与理解在不断变化，这种变化与中国人的音乐价值观、音乐审美与实用需求，以及对西方文化态度与观念的变迁等诸多因素复杂相关。中国接受者对贝多芬音乐多样化的阐释，不仅反映出贝多芬音乐所蕴藏的巨大潜势和高度艺术价值，也折射中国人对世界、对人生的独特视角。因此，中国贝多芬接受历史，既不单纯是贝多芬作品在中国的传播历史，也不单纯是中国人欣赏贝多芬音乐的历史，而是由中国人与贝多芬共同书写的、承载着丰富的审美体验与人文精神的历史。
Introduction
The traditional research on music history mostly focuses on the composition of music from the "composer-work" dimension. Today, people are increasingly aware of the fact that a work has a long life after being composed. Unlike historical events, musical works will always maintain vitality, being played, appreciated, evaluated, and interpreted by recipients of one generation after another. What’s more interesting is that these interpretations are often changing due to the different factors such as the times the recipients living in, their ethnicity, cultural background, knowledge structure, musical aesthetic experience, and so on. Finally, as an indispensable link in the process of music inheritance, "acceptance" will obviously or potentially affect the composer's creation style, and the dissemination and development trend of musical works, and thus affect the direction of the entire music history. Therefore, in addition to the dimension of composers and works, there are still a lot of topics to be studied from the dimension of music works and recipients.
Since Beethoven became a familiar name to the Chinese people in the early 20th century, he has gradually become a symbol or pioneer of Western culture in people's minds. The reception and dissemination of Beethoven in China has gone through ups and downs along with the changes in modern Chinese society. At different historical stages, Chinese people's interests in and evaluation and understanding of Beethoven are constantly changing. This change is related to the Chinese people's music values, the aesthetic and functional needs of music, and the attitudes and notions of Western culture as well as many other complicated factors. The diversified interpretation of Beethoven's music by Chinese recipients not only reflects the great potential and high artistic value of his music, but also the unique perspectives toward world and life of the Chinese people. Therefore, the reception history of Beethoven in China is not simply the history of dissemination, nor is it simply the history of Chinese people's appreciation. It is co-written by the Chinese people and Beethoven, with a wealth of aesthetic experience and humanistic spirit.
主讲人简介
张乐心：博士，香港内部正版资料大全音乐孔子学院办公室及中外音乐文化交流与体验基地副主任，乌克兰国立柴可夫斯基音乐学院音乐孔子课堂理事，美国密歇根大学访问学者。1994年考入香港内部正版资料大全音乐学系本科，2002年获硕士学位并留校工作，2010年在音乐史学家、美学家于润洋教授指导下获博士学位。主要研究领域：跨文化音乐交流、西方音乐史，出版专著《贝多芬在中国：西方古典音乐接受问题个案研究》、论文《观念?需求?内容：基于美国密西根大学孔院文化活动数据的思考》等多篇；策划并实施“中国音乐文化国际研修学院”等多项跨文化音乐交流活动；作为教学组成员在香港内部正版资料大全开设学分选修课《音乐国际教育与传播》。
Lecturer
Zhang Lexin, Ph.D., Deputy Director of Music Confucius Institute Office & Center for International Music Culture Exchange of Central Conservatory of Music (CCOM), Board Member of Music Confucius Classroom at the Ukrainian National Tchaikovsky Academy of Music, and visiting scholar at the University of Michigan, US. She was enrolled in CCOM majoring in Musicology in 1994, obtained a master's degree in Western Music History in 2002, and later became a teacher at CCOM. She obtained a doctoral degree in 2010 under the instruction of Prof. Yu Runyang, an expert of Music History and Aesthetics. Her researches are mainly on cross-cultural music exchange and Western music history. She is the author of the monograph Beethoven in China—A Case Study on the Reception of Western Classical Music, and papers such as Notion, Need & Content— Thoughts on the Data of Cultural Activities of the Confucius Institute at the University of Michigan in the United States. She planned and carried out many cross-cultural music events such as the Chinese Music Culture International Summer Institute; as one of the faculty, she took part in the teaching of the CCOM elective credit course "International Music Education and Communication".
