西洋音樂史的時代分期與問題探討

西方的歷史音樂學形成一個獨立的學科，是在十九世紀末發展出來的。二十世紀以來，音樂史學的各種類型研究日漸蓬勃發展。本文先回顧十七、十八世紀的重要典籍和音樂學家，以及十九世紀為音樂史學奠定基礎的前輩，如奇斯威特(R. G. Kiesewetter, 1773-1850)、阿姆柏斯(W. Ambros, 1816-1876)、菲替斯(François-Joseph Fétis, 1784-1871)、胡果•李曼(Hugo Riemann, 1849-1919)。二十世紀受到社會主義和民族音樂學的影響，1960年代之後的音樂史撰述有了重大的改變，雖然東歐社會主義國家的音樂史分期和內容重點，明顯有別於中歐和英國，但雙方都將民間音樂、流行音樂、非歐洲國家的音樂發展加重了分量，而跨領域研究的成果也處處可見。

關鍵字

音樂史撰寫；歷史音樂學；音樂史分期

並列摘要

The time when the historical method of musicology had become a independent discipline was around the end of the nineteenth century, and different types of historical musicological research were gradually and even widely developed after 1900. This essay would firstly retrospect some important figures and literature of music research from the seventeenth to eighteenth century, and in addition, some predecessors who had successfully established the basic foundation of historical musicological research like R. G. Kiesewetter (1773-1850), W. Ambros (1816-1876), Francois-Joseph Fétis (1784-1871), and Hugo Riemann (1849-1919). Influenced by socialism and ethnomusicology in the twentieth century, significant changes could be found in music history writings. Although the divided periods and the contents of music history writings in eastern socialistic Europe would obviously differ from the central Europe and the United Kingdom, they all emphasized and expended the contents about folk music, popular music, and the development of music outside Europe; furthermore, researches of the cross-over fields were also increasing at the same time.