【作者简介】陈朗 北京大学社会学系

【文章来源】《社会》2024年第3期

【内容提要】中国近代音乐转型源于民族建构的现实需要。本文以中国近代第一种新音乐“学堂乐歌”为核心，讨论了民族建构与音乐转型的复杂关联。基于培养新民的要求，梁启超设想了一种兼具“普遍主义”与“诗乐合一”两大核心特征的新音乐。他的设想启发了学堂乐歌的音乐实践，催生出两种不同类型的学堂乐歌，即以沈心工为代表的普遍主义乐歌和以李叔同为代表的诗乐合一乐歌，也引发了一些进行调和的音乐理论尝试。不同的音乐类型背后蕴含着不同的理论假设，普遍主义与诗乐合一之间的张力体现了民族国家理论与雅乐传统的龃龉。

【关 键 词】民族建构, 音乐转型, 诗乐合一, 普遍主义, 学堂乐歌

【全文链接】https://www.society.shu.edu.cn/CN/Y2024/V44/I3/147

National Construction and Music Transformation: The Invention and Intrinsic Tension of the School Song

Abstract: The transformation of modern Chinese music began in the early 20th century. Its core manifestation was the absorption of Western music theories and forms， resulting in new music that differed from traditional Chinese music. This transformation originated from the practical need for national construction. This article discusses the complex connection between national construction and music transformation， focusing on the first kind of new music in modern China， the “School Song”. Liang Qichao envisioned a new kind of music that would foster the New People， possessing the two core features of “universalism” and “unity of poetry and music”. Since Liang’s understanding of music originated in the Confucian tradition of court music， the new music envisioned by Liang was in fact a new form of court music. Liang’s vision inspired the creation of the “School Song”， giving rise to the emergence of two distinct types--the universalist music represented by Shen Xingong and the poetic and musical songs represented by Li Shutong. Additionally， there were attempts to reconcile music theories， such as the music theory of Zeng Zhimin. Overall， the music of universalism prioritized simple forms of music composition such as simple scores and vernacular texts to make the songs as accessible as possible in order to promote the concept of the New People. The music of integrating poetry and music， on the other hand， called for the use of compositional forms such as pentameter and classical literary texts， emphasizing musicality and the cultural traditions embedded in classical poetry and literature. Different theoretical assumptions underlie different kinds of music. The tension between universalism and poetic-musical unity embodies the disagreement between the theory of the nation-state and the tradition of court music， and lays down the basic issue of the transformation of modern Chinese music， which has had a significant historical impact.

Key words: national construction, music transformation, integration of poetry and music, universalism, the School Song