二十世紀上半葉中國音樂史寫作脈絡探析

關於中國古代的音樂記載，自古以來一直禮樂制度的面貌，在正史的書寫中占有一席之地，歷代正史樂志中的記載，也成為中國自古以來重視音樂的象徵與證明。然而自十九世紀末開始，西方音樂與音樂思想，伴隨著其他各種的西方文化，開始大量傳入中國。中國學者面對西方音樂文化的衝擊，開始逐漸反思自己的固有音樂，藉由傳入的西方音樂概念與方法，來檢視中國既有音樂的本質，與發展歷程的問題。「中國音樂史」的寫作，即是在這種中西音樂文化衝突的背景之下，於1920年代逐漸開展出來的新學術範疇，葉伯和1922年出版的《中國音樂史》，就是第一本在當代音樂史學觀點下產生的音樂史著作。不同於傳統正史樂志，只做為一朝音樂制度的記載，於傳統中國史觀中亦非「史」而為「志」的寫作類型，二十世紀出現的「中國音樂史」，以當代史學講求歷史連貫性發展，以及音樂史中以音樂元素為主體的觀點，做為音樂史寫作的基礎。作者們憑藉著他們對於中國音樂的了解、對於史料的掌握，以及關於音樂史寫作的不同觀點，完成了各種論述觀點相異的「中國音樂史」。其中有如許之衡、童斐、鄭覲文等人以固守中國傳統音樂內容為本的「國粹派」觀點，有如葉伯和、王光祈、蕭友梅等人，從對於西方音樂史的理解中，主張以西方音樂史寫作方法為前提的「西化派」觀點，此外亦有受到日本現代化影響的日書譯本－田邊尚雄以比較音樂學為基礎的《中國音樂史》，以及匯集二十世紀上半葉成果，並開啟中國音樂史寫作後續發展的楊蔭瀏《中國音樂史綱》。本論文以二十世紀上半葉的八本中國音樂史著作為主體，就作者、中西音樂與歷史觀點，以及時代背景等不同的脈絡元素，來分析每一本中國音樂史的寫作脈絡，如寫作目的、內容架構、論述觀點與方法等，以及成書過程、評論與問題等反映時代背景面向的歷史詮釋。並從結構歷史的觀點，以寫作觀點與時間等複合因素為序，呈現出二十世紀上半葉中國音樂與西方音樂文化相互衝擊與融合下，中國音樂史寫作初發展的歷史樣貌。經由各本文本的分析，本論文在結論中提出十九世紀末以來中國音樂在西方音樂文化影響下，於中國音樂史寫作的範疇中所形成的三個音樂史學論題：雅俗樂的歷史辯證、中西音樂美學的根本差異，以及音樂學範疇拓展對於音樂史觀的影響。這些論題在二十世紀下半葉的中國音樂史寫作與音樂史學中，仍是有待深入研究的基本議題。

關鍵字

中國音樂史；音樂史寫作；音樂史學；西化；中西交流

並列摘要

The writing of music history already existed in ancient China. Yue Zhi, record of music events at court and the rituals of every Dynasty, was included in China’s Standard Histories and served as the primary historical documents of Chinese ancient music. Even though Yue Zhi is included in the Standard Histories, it does not qualify as a real history from the perspective of contemporary music historiography, let alone traditional Chinese historiography, which was based primarily on biography. Since late 19th century, Western culture, including its music culture, invaded China and had a strong impact. To compete with the then dominant music culture of the West, Chinese intellectuals began to evaluate Chinese ancient music, for example, the traditional definition and discourse of it. They applied the perspectives and methodology from the West to investigate the issues regarding the development of Chinese music and reconstruct the system of the writing of Chinese music history. Viewed this way, the writing of Chinese music history can be said to have emerged in the 1920s. Bo-he Yeh’s Zhongguo yin yue shi, published in 1922, appeared, literally, as the first Chinese music history. Different from Yue Zhi, which was limited to the recording of music events and rituals, the writing of Chinese musical history in early 20th century focuses on the issues of historical continuity and causality, which derive from contemporary historiography, as well as music ontology, one of the fundamental topics of 19th-century Western music aesthetics. Due to the difference in terms of the condition of writing and the quality of the authors, the contents of these works of Chinese music history vary, and depend on how each author comprehended Chinese music and its history. Zhi-heng Hsu, Fei Tong, and Jin-wen Zheng, who were experts of Chinese traditional music, adhered to its system and adopted a traditional perspective of music discourse in their writings. They are considered to be conservative. On the contrary, Bo-he Yeh, Yiu-mei Hsiao, and Guang-qi Wang, who had an education of Western art music, are advocates of Westernization. They introduced Western music and methodology into their works, viewing this as an essential strategy to reconstruct the historical discourse of Chinese music. Zhongguo yin yue shi, yet another example of contemporary writing of Chinese music history, includes a partial Chinese translation of Tōyō ongaku shi by Japanese musicologist Tanabe Hisao, and presents a Chinese music history that was based on the theory of “cultural transfer” adopted in comparative musicology. Situated in the context of a contrived “Eastern culture”, this work presents a Japanese response to the West and, in particular, the “Japanese Westernization” campaign in early 20th-century China. In his Zhongguo yin yue shi gang, Yin-liu Yang reviewed the earlier writings of Chinese music history, and established a new, folk music-based historiography as the major concern of Chinese music history. Judging from the impact that Yang created on the development of “Chinese Ethnomusicology”, this monograph could be regarded as a milestone of Chinese music historiography. In this dissertation, I focus on the eight above-mentioned works of Chinese music history. I explore the context of these works’ creation, and discuss the purpose of these writings and their structure, the authors’ methodology, and their viewpoints regarding the discourses. I also discuss issues in historical perspective, including the authors’ creative process, these works’ publication, their reception, and the biography of each author. Applying the concept of “Strukturgeschichte”, I present an overview of the development of Chinese music historiography in early 20th century, an era when Chinese music encountered Western music and underwent a great cultural shock that motivated drastic changes and new approaches. I conclude with three issues on the writing of Chinese music history, aspects of Chinese music historiography yet to be explored in great depth in current scholarship: the dialectic between court music and folk music, the fundamental differences between the aesthetics of Chinese music and Western music, and the issue of how the expansion of the boundary and category of Chinese music studies influenced its historiography.