本书为国家级非物质文化遗产鱼山梵呗传承保护项目记录著作，根据国家级非物质文化遗产保护和传承的要求，记录保存了梵呗从起源到盛行、流失到复兴的点点滴滴、传承人技艺技能传承活动的历程。（2016.06）

《民族音乐学研究:31个论题和概念》在继承旧版的目标的同时，更加强调了各种理论的视角和文化语境，阐释了学科进一步拓展的各种新视角，反映了民族音乐学家对研究文化中的音乐日益增强的兴趣。全书31个论题和概念被分布在四个部分中：一、世界的各种音乐；二、田野中的音乐；三、人类文化中的音乐；四、多元视角下的音乐。作者通过术语选择、主题变动、民族志叙事、篇章扩充、意义阐释等策略环节，以其特有的口语叙事文体和一些修辞手法，令人信服地讲述了学科发展和印第安黑足人、伊朗人、南印度人以及西方文化的故事，由此为我们构筑了各种地方性知识，当然其中不乏全球化语境下西方的影响，由于可以将“全球化定义为现代性的全球投影”，故民族志书写的重要内容必定是现代性——包括西方化（生活方式和政治、经济、文化理念）——在全球地方化的进程。

本书以中古时期伎乐歌舞的发生发展为对象，围绕中古伎乐生产主体——乐伎群体的流动迁移与聚合、伎乐主要形式的生成与内容传播路径进行考察，结合中古伎乐演化的内在动力与外在环境，从三个方面论证了中国音乐从先秦时期的“金石之乐”向中古时期的“歌舞伎乐”的转型进程。一是中古社会奢侈之风盛行、宫廷乐署机构作用下移、新型恩主制形成、岁时民俗的平台功能等，促进了具有广泛社会性、娱乐性、消遣性歌舞娱乐节目的生成。二是中古动荡社会，伎乐随乐人迁徙而发生历史间、区域间、族属间交流，内迁各少数民族与汉族文化从多元并置走向融合，为隋唐文化的繁荣做了准备。三是永嘉之乱后，汉魏旧乐历经各朝整理创革及回拨，地位得到加强，胡乐、清商乐勃兴，致音乐出现雅俗之分，伎乐开始以新的形式和自足自立的独立性存世、传世。本书以独特的视角，力图建立起一部以人为中心的音乐生活发展历史；研究注重史料的发掘与更新，为中国古代音乐史研究提供了新的思路。

《鱼山梵呗声明集》中鱼山梵呗日本传承经慈觉圆仁大师、三十五传多纪道忍、三十六传中山玄雄、三十七传大僧正天纳传中教授、净土宗梦江、三千院门主小堀光诠、真言宗藤原义章等宗匠、法师先后多次归鱼山朝祖，祭拜陈思王。鱼山梵呗寺住持永悟禅师与日本往来交流三十余年，更进行了深入研究练习。在以隋唐时期流传到日本的《鱼山声明集》（收录大正藏）为依据、日本鱼山梵呗传承人多纪道忍大师1936年的唱片录音为线索，及当时音乐家吉田恒三的采谱为材料的参照基础上，永悟禅师不断走访参学，深入探索、总结中国梵呗精神、口传特点等记谱规律，将鱼山梵呗资料破译，并为现代的五线谱，编辑成《鱼山梵呗声明集》。

约翰·塞巴斯蒂安·巴赫其人，在音乐史上始终是难以捉摸的谜题。人们很难将那些恢弘伟大的作品，与一个看似庸常、难解，偶尔疯狂的个体联系在一起。英国指挥家约翰·艾略特·加德纳在父母家的两幅巴赫肖像的陪伴下长大，每日每夜他拾级而行，都会经过在战争期间保护着的肖像。从那时起，他开始研究并演奏巴赫，日后成为现今最伟大的巴赫诠释者。这本书便是他毕生奉献的精华与凝结。他考察了巴赫研究的最新进展，以丰盛的细节呈现巴赫的思想，他的工作方式，他如何创作音乐以至于日臻化境，最终为我们揭开巴赫掩藏其下的真实面目。
加德纳作为历史学家的身份，让他透过学术与演奏两个通径来展开研究。他仔细钻研了现存稀少的传记素材，通过对音乐本身的细致体察，摸索到那些个人特质从音乐中浮现的瞬息。与传统的传记不同，加德纳旨在“认识这个创作中的人”，体会巴赫的音乐创作过程，使读者身临其境，获得同样的经历和感受。音乐能够折射出广泛的人生经历，巴赫的人格由他的音乐思想发展、磨砺而来。本书以十四个章节，作为十四条轮辐，全部通向同一个核心——作为人和音乐家的巴赫。
“即便是题外话也充满风趣和权威……加迪纳让人在阅读过程中仿佛能听到康塔塔，一种罕见的天赋。” —— 乔治·斯坦纳George Steiner，《泰晤士报文学增刊》，年度图书
“对史上最非凡的音乐家的最扣人心弦的描绘。” ——亚当·莱弗利Adam Lively，《泰晤士报 》 ，年度图书
“加德纳为我们提供了最彻底的满足感。他在许多地方的洞察力使得读者迫不及待地想要再听一遍巴赫的作品，最佳的音乐写作就是这样。” ——安德鲁·克拉克Andrew Clark，《金融时报》，年度图书
“纪念碑式，却又个人化。” ——萨米尔·拉希姆Sameer Rahim，《每日电讯报》，年度图书
“世上有许多巴赫，但只有一个塞巴斯蒂安——而加德纳是他的先知……在加德纳专业的指引下，通往巴赫天堂城堡的大门被打开了。”——丹尼尔·约翰逊Daniel Johnson，《支点》
世界顶级指挥家，巴赫作品当世最权威的诠释者，历时十二年写下巴赫的一生和他永恒的音乐事业。
小时候加迪德家里挂着一副巴赫的画像，“每天去睡觉的时候，我都躲避他的目光”。这个无处不在的偶像和符号，从童年就这么深深刻在心中。现在他来写巴赫，希望我们能把巴赫当作一个真实的人，而不是一个平面化的符号。

本书对弦乐组、木管组的各种配器手法，弦乐器与木管、圆号、小号、打击乐、钢琴等的结合，以及扩大的乐队编制、交响乐队为独唱、独奏伴奏的各种配器手法均作了详细的阐述，本书是从事作曲理论工作者的必备用书。

David Kopp's book develops a model of chromatic chord relations in nineteenth-century music by composers such as Schubert, Beethoven, Chopin, Schumann and Brahms. The emphasis is on explaining chromatic third relations and the pivotal role they play in theory and practice. The book traces conceptions of harmonic system and of chromatic third relations from Rameau through nineteenth-century theorists such as Marx, Hauptmann and Riemann, to the seminal twentieth-century theorists Schenker and Schoenberg and on to the present day. Drawing on tenets of nineteenth-century harmonic theory, contemporary transformation theory and the author's own approach, the book presents a clear and elegant means for characterizing commonly acknowledged but loosely defined elements of chromatic harmony, and integrates them as fully fledged entities into a chromatically based conception of harmonic system. The historical and theoretical argument is supplemented by plentiful analytic examples.

This is the first intellectual biography of the French composer and theorist Jean-Philippe Rameau. Rameau synthesised the vocabulary and grammar of musical practice into a concise scientific system, earning himself the popular title of 'Newton of the Arts'. Ranging widely over the musical and intellectual thought of the eighteenth century, Thomas Christensen is able to orient Rameau's accomplishments in the light of speculative and practical considerations of music theory as well as many of the scientific ideas current in the French Enlightenment. He shows how Rameau incorporates ideas ranging from neoplatonic thought and Cartesian mechanistic metaphysics to Locke's empirical psychology and Newtonian experimental science. Additional primary documents help clarify Rameau's fascinating and stormy relationship with the Encyclopedists, Diderot, Rousseau and d'Alembert.

本書為研究1970年代台灣現代民歌興起、轉折的過程。依時序「台灣現代民歌」的發展出現三條主線：即楊弦、余光中帶動的「中國現代民歌」；李雙澤、楊祖珺為代表的「淡江一夏潮」路線；以及新興工業文化興起後的「校園民歌」。作者在書中指出上述三種路線的相對位置與文化功能，並指出其在台灣通俗音樂發展過程中70年代到80年代台灣文化變遷中所蘊含的意義。
序，或是一段回憶　陳俶文
自序
論文　致謝辭
導言
．兩種脈絡
．文化研究：異質的與歷史的
．生產機制為主的取向
．本文架構
第一章　序奏：對於 70 年代初期台灣文化的一些切片
．現代的與民族的： 70 年代權力集團與知識分子文化形構的基調
．鄉土：傳統／現代、高層／通俗
．台灣的西洋熱門音樂與現代民歌
．小結
第二章　「中國現代民歌」的摶成與轉折
．現代詩與現代民歌
．變種與現代民歌
．朝向建制化之路：通俗音樂文化工業的投入
．嚴肅音樂論述與現代民歌的正當性
．小結
第三章　淡江——《夏潮》路線的民歌運動
．淡江——《夏潮》路線的形成
．李雙澤的現代民歌
．民歌與社會（一）：「非學院VS學院」的論述形構
．民歌與社會（二）：楊祖珺的民歌推廣
．小結
第四章　新興唱片工業與「校園歌曲」
． 70 年代後期鄉土文化形構的轉折與新興文化工業的浮現
．「校園歌曲」的建制形構
．「校園歌曲」的形式與意識形態取向
．「中國現代民歌」的轉化與沒落
．小結
第五章　尾聲： 70 年代現代民歌的位置
．斷裂，以及不同路線現代民歌的文化位置與功能
．台灣通俗音樂歷程中的現代民歌
．對台灣當代社會文化形構的再認識
後記——一個樂迷的告白
附錄
參考文章與書目
音樂資料
附表目錄
．附表 1《音樂》雜誌讀者意見調查（部分）——1971/02/09
．附表 2：兩場演唱會一場座談會的演出歌手／出席人員
．附表 3：《我們的歌》第一、二輯曲目、作者、編曲者及演唱者
．附表 4：1977/12/19日「中國現代民歌之夜」歌手、曲目與作者
．附表 5：李雙澤參與創作作品一覽表
．附表 6：民眾關於娛樂、消費、教育及文化服務等項的消費比例
．附表 7：每人每年平均觀看影劇次數
．附表 8：第一屆金韻獎青年歌謠決審大會演唱組選曲類別
．附表 9：現代民歌歌詞內容分類統計之一（江夢姝，吳淑馨版）
．附表10：現代民歌歌詞內容分類統計之二（楊祖珺版）
．附表10：79/08/01「唱自己的歌」演唱會歌手曲目與作者
．附表12：78、79、81年《滾石》版年終民歌排行（前十名）
．附表13華民國歌、詞作家學會民歌委員會（「民風樂府」）名單
．附表14民風樂府」大型演唱會活動狀況（1980-84）
．附表15：三種路線的現代民歌
．附表16：現代民歌的不同文化位置與功能

From the medieval chansonniers to contemporary rap renditions, this book traces the changing interpretation of troubadour and trouvère music, a repertoire of songs which have successfully maintained public interest for eight centuries. A study of their reception, therefore, serves to illustrate the development of the modern concept of "medieval music". Important stages in their evolution include sixteenth-century antiquarianism; the Enlightenment synthesis of scholarly and popular traditions; and the infusion of archaeology and philology in the nineteenth century, leading to more recent theories on medieval rhythm.

This text explores the traditions of folk music in rural China. Musicians performing folk ceremonies in villages still practice traditions handed down from temples and courts of imperial times. It illustrates these folk traditions, from plangent shawm bands to the more mellifluous string ensemble.

This bold challenge to conventional notions about medieval music disputes the assumption of pure literacy and replaces it with a more complex picture of a world in which literacy and orality interacted. Asking such fundamental questions as how singers managed to memorize such an enormous amount of music and how music composed in the mind rather than in writing affected musical style, Anna Maria Busse Berger explores the impact of the art of memory on the composition and transmission of medieval music. Her fresh, innovative study shows that although writing allowed composers to work out pieces in the mind, it did not make memorization redundant but allowed for new ways to commit material to memory. Since some of the polyphonic music from the twelfth century and later was written down, scholars have long assumed that it was all composed and transmitted in written form. Our understanding of medieval music has been profoundly shaped by German philologists from the beginning of the last century who approached medieval music as if it were no different from music of the nineteenth century. But Medieval Music and the Art of Memory deftly demonstrates that the fact that a piece was written down does not necessarily mean that it was conceived and transmitted in writing. Busse Berger's new model, one that emphasizes the interplay of literate and oral composition and transmission, deepens and enriches current understandings of medieval music and opens the field for fresh interpretations.

From the emergence of plainsong to the end of the fourteenth century, this Companion covers all the key aspects of medieval music. Divided into three main sections, the book first of all discusses repertory, styles and techniques - the key areas of traditional music histories; next taking a topographical view of the subject - from Italy, German-speaking lands, and the Iberian Peninsula; and concludes with chapters on such issues as liturgy, vernacular poetry and reception. Rather than presenting merely a chronological view of the history of medieval music, the volume instead focuses on technical and cultural aspects of the subject. Over nineteen informative chapters, fifteen world-leading scholars give a perspective on the music of the Middle Ages that will serve as a point of orientation for the informed listener and reader, and is a must-have guide for anyone with an interest in listening to and understanding medieval music.

悠依克是欧洲最古老却不为人知的音乐文化。这个故事中的人们通过唱诵萨米传统音乐悠依克而表现出的幽默、快乐和对自然、人和动物的热爱，让长期被压迫和谴责的黑暗中萨米音乐文化散发出光芒。这部电影展现了萨米人如何找到自己的音乐之路。

Written during the composer's years as professor of the renowned Moscow Conservatory, this volume presents a clear and thorough introduction to the study of harmony. Out of print for decades and exceedingly rare in its original edition, "Tchaikovsky's Guide to the Practical Study of Harmony" bears an intrinsic historical interest. This excellent manual, however, remains as useful and instructive today as it was a century ago. A complete course in writing music, it features numerous examples and exercises. It functions equally well as a classroom text, an adjunct to private instruction, or as a guide to individual musicians. Unabridged republication of the classic 1900 edition.

Challenging what is widely regarded as the distinguishing feature of Russian music - its ineffable "Russianness" - Marina Frolova-Walker examines the history of Russian music from the premiere of Glinka's opera "A Life for the Tsar" in 1836 to the death of Stalin in 1953, the years in which musical nationalism was encouraged and endorsed by the Russian state and its Soviet successor. The author identifies the two central myths that dominated Russian culture during this period - that art revealed the Russian soul, and that this nationalist artistic tradition was founded by Glinka and Pushkin. She shows how nationalist ideas were endlessly recycled and elaborated in the writings of composers, critics and historians of music, even when supporting evidence was scant or non-existent. Against this background, the author offers a critical account of how the imperatives of nationalist thought fired up individual invention, pushed composers to engage with folk, popular, and church music traditions, and caused them to reject certain Western paradigms, or even stand them on their head. In this way, she provides a new perspective on the brilliant creativity, innovation and eventual stagnation to be found within the tradition of Russian nationalist music.

历经严酷考验，阿伦戴尔王国终于回归往日平静。艾莎女王（伊迪娜·门泽尔 Idina Menzel 配音）、安娜公主（克里斯汀·贝尔 Kristen Bell 配音）以及他们的好友雪宝（乔什·加德 Josh Gad 配音）、克里斯托弗（乔纳森·格罗夫 Jonathan Groff 配音）、驯鹿斯文过着平静安逸的生活。可是最近一段时间，艾莎总会被一段神秘的吟唱所困扰，为了追寻真相，她义无反顾踏上了征途。担心姐姐的安全，安娜和雪宝、克里斯托弗他们紧紧跟随。在那座常年被浓雾所笼罩的森林里，不仅藏着神秘的自然力量，更隐藏着关于阿伦戴尔王国、艾莎的魔法来源以及两位公主父母丧生等一系列的秘密。
艾莎开启了一段寻找自我的旅程……