“新史学”疏义及对音乐学界之影响研究

An Interpretation of “New Historiography” and Its Influence on the Musicology Community

This review focuses on “New Historiography”, sorting out its concept and covering different models such as Liang Qichao (China), James Harvey Robinson (the United States), and the Annales School (France). In the field of Western music, “New Historiography” (or “New Musicology”) emerged in the 1980s. Influenced by postmodern thought and the cultural turn, it reflects on traditional positivist historiography, emphasizes the deep connection between music and social culture, and expands research objects and perspectives. “New Historiography” has exerted multi-faceted impacts on the musicology community: 1. In Western music studies, it has spurred research on women’s music history, breaking the traditional male-dominated narrative of music history and excavating women’s contributions and value in the field of music. For example, scholars like Song Fangfang have focused on women’s “othered” music culture, expanding the scope of historical materials and research approaches. 2. It has triggered discussions on “rewriting music history”. Scholars such as Dai Penghai have pointed out problems in the writing of modern Chinese music history; some scholars have also integrated “New Historiography” concepts into modern music history research (e.g., Kang Ruijun’s exploration of the theory and practice of musical “New Historiography”). 3. It has advanced specialized research on Song Dynasty music. Scholars like Luo Qin have used “New Historiography” as a driving force to promote research on the dynastic history of Song Dynasty music from the perspectives of historical material excavation, academic angles, and research models, leading to a number of academic works that demonstrate the diverse value of “New Historiography” in music research. In summary, “New Historiography” has brought innovations in concepts, methods, and perspectives to Chinese and Western music research, promoting the diversification and interdisciplinary development of music studies, and helping to excavate neglected dimensions of music history and cultural value.

该综述聚焦“新史学”，梳理“新史学”概念，涵盖中国的梁启超、美国的鲁滨逊及法国年鉴学派等不同类型。在西方音乐领域，“新史学”（新音乐学）于20 世纪80 年代兴起，反思传统实证史学，受后现代思潮与文化转向影响，强调音乐与社会文化深层关联，拓宽研究对象与视角。“新史学”对音乐学界带来多方面影响。其一，在西方音乐中，催生女性音乐史研究，打破传统男性主导的音乐史叙事，挖掘女性在音乐领域的贡献与价值，如宋方方等学者的研究聚焦女性“他者”音乐文化，扩大史料范围与研究思路；其二，引发“重写音乐史”讨论，如戴鹏海等学者指出中国近现代音乐史写作问题。另有部分学者将“新史学”观念融入近代音乐史研究，如康瑞军等对音乐“新史学”理论与实践展开探讨；其三，促进宋代音乐专项研究，如洛秦等学者以“新史学”理念为动力，从史料挖掘、学术视角、研究模式等方面推动宋代音乐断代史的研究，涌现一批学术著作，展现“新史学”在音乐研究中的多元价值。总之，“新史学”为中西方音乐研究带来观念、方法与视角的革新，推动音乐研究向多元化、跨学科方向发展，助力挖掘被忽视的音乐历史维度与文化价值。