“纪念抗战胜利80周年”音乐研究专栏

论抗战音乐与抗战时期的音乐之关系

项筱刚

摘 要：多年来，抗战音乐似乎是一个约定俗成的概念，好像早已“众所周知”，且应该可以“盖棺定论”。 然，静心细想，学界却又好像从未有一个有关“抗战音乐”的已然达成共识的定义。窃以为，在将抗战音乐研究推向纵深之前，如未能搞清楚“抗战音乐”与“抗战时期的音乐”之关系，是不利于抗战音乐的研究的，因为后者的外延与内涵显然要远远大于目前我们对前者的认知。

关键词：抗战；音乐；抗战音乐；抗战时期

作者简介：项筱刚（1972—），文学博士，中央音乐学院研究员（北京 100031）。

The Relationship Between the Music of the War of Resistance Against

Japanese Aggression and the Music of the War of Resistance Against

Japanese Aggression Period

Xiang Xiaogang

Abstract： The term “the Music of the War of Resistance against Japanese Aggression” is seemly common accepted for a long time， it likes know to all and can be confirmed. But scrutinized it carefully， there is no academic consensus of its definition. The author points out that clarifying the relationship between “the Music of the War of Resistance Against Japanese Aggression” and “the Music of the War of Resistance Against Japanese Aggression Period” will promote their researches and develop them to a high level， as our cognition about the extension and connotation of the latter are obviously border than the former’s.

Keywords：the War of Resistance Against Japanese Aggression； music； the Music of the War of Resistance Against Japanese Aggression； the War of Resistance Against Japanese Aggression period

 

历史回响：抗战时期国共合作与音乐界“三厅”模式

田可文

摘 要：1938年，当民族危亡之际，在武汉，国共合作构建起抗日民族统一战线，为音乐界的团结，奠定了政治基石。在周恩来、郭沫若等领导下，“国民政府军事委员会政治部第三厅”主导了音乐创作、组织培训、宣传演出等活动，成为凝聚民族精神、激发抗战意志的有力武器，将抗日救亡歌咏运动推向高潮，向国际社会传递中国的抗战声音。文章聚焦相关史事，剖析其重要历史价值与启示。

关键词：1938年；“三厅”；抗日民族统一战线；抗战歌咏运动

作者简介：田可文（1955—），男，十八禁午夜福利免费网站高清免费特聘教授、武汉音乐学院教授，博士研究生导师（哈尔滨150028）。

Historical Echoes: Communist and Kuomintang Alliance and

the “3rd Department” Model of the Music Circle in the War of Resistant Against Japanese Aggression Period

Tian Kewen

Abstract：In 1938， China was in peril， Communist Party of China and China Kuomintang cooperated to build the National United Front Against Japanese Aggression in Wuhan， founding a political basis for the unity of the music area. Under the leadership of Zhou Enlai and Guo Moruo， etc. ， the 3rd Department of the Political Ministry of the Military Commission of the National Government dominated the music activities of creation， training， propaganda and performance， which became a powerful weapon to unite the spirit of the nation and inspire the resistant will， as well as promote the Resistant Against Japanese Aggression Singing Movement to a climax to convey China’s voice of resistance to the world. The article focuses on the relevant historical events and analyzes its important historical value and revelation.

Keywords：1938；3rd Department； National United Front Against Japanese Aggression； Sining activities of the War of Resistant Against Japanese Aggression

 

论桂林“文化城”抗战音乐的历史分期及其特征

刘益行，李 莉

摘 要：抗战时期的桂林，因其地理与战略优势，成为中国西南地区的重要文化中心。随着国际战局演变，众多音乐家由上海、武汉与香港等地迁入桂林，创作了大量的抗战音乐作品，并开展了多样的音乐活动。历史分期为理解历史进程的重要方法，用于阐述不同历史时期的文化特征。本文依照抗战整体进程及桂林音乐文化自身嬗变的脉络，将其分为四阶段：一为广西抗战音乐文化的早期发展（1931-1938）；二为“国共合作”中的繁荣期（1939-1940）；三为“国共合作”破裂后的艺术化倾向期（1941-1942）；四为抗战音乐由盛转衰期（1943-1944）。桂林抗战音乐的兴起，离不开中国共产党文艺政策的贯彻与抗日民族统一战线的推动，也得益于新桂系有限“开明”的政策。

关键词：桂林“文化城”；抗战音乐；历史；分期；特征

作者简介：刘益行（1993—）男，马来西亚博特拉大学音乐系2020级博士生；李莉（1976—）女，艺术学博士，湖北省楚天学者，武汉音乐学院音乐学系教授（武汉 430060）。

On the Historical Periodizing and Characteristics of the Music of the War of Resistant Against Japanese Aggreession in Guilin’s “Cultural City”

Liu Yixing， Li Li

Abstract：During the War of Resistance Against Japan period， Gulin attained the significant cultural center in southwest China due to its geographical and strategic status. Since the change of the world war， many musicians migrated to here from Shanghai， Wuhan and Hong Kong， they not only output abundant music on the War of Resistance Against Japanese Aggression， but also launched various musical activities. Periodizing its history is an important way for absorbing itself processing and basement for the interpreting the culture characteristics of each periods. Referencing the process of the War of Resistance Against Japanese Aggression and content of the music， the author periodize this time to four stages：1. Early stage of Guangxi Music Culture in the War of Resistance Against Japanese Aggression Period （1931-1938）；2. Prosperous Period in the Communist and Kuomintang Alliance （1939-1940）；3. The Artistic Dominant Period after the Communist and Kuomintang Break-off （1941-1942）；4. The Decline Period （1941-1942）. As conclusion， the author consider the emergence of music about the War of Resistance Against Japanese Aggression is inseparable with the implementation of the Communist Party of China’s literature and art policy and the promotion of National United Front， as well as the limited open policy of the new Guangxi Clique.

Keywords： Guilin Cultural City； the War of Resistance Against Japanese Aggression； history； periodize

 

战时感召与音乐动员

——“广西音乐会”的音乐叙事、社会功能及历史影响

王 玏

摘 要：抗日战争时期，“广西音乐会”作为重要的音乐文化组织，在促进广西本土音乐发展方面发挥了重要作用。面对战时特殊的社会环境，该团体通过组织演出、创作改编、音乐教育等活动，激发了民众的抗战热情，也促进了广西民间音乐的挖掘、整理与创新。本文通过分析广西音乐会的实践活动，探讨其对广西抗战音乐的发展影响，阐述广西音乐会在抗战文化中的重要历史地位。

关键词：广西音乐会；文化组织；音乐副刊；《抗战音乐》；音乐动员

作者简介：王玏（1988—），女，土家族，艺术学硕士，安徽艺术学院讲师，安徽音乐文化研究与传承中心研究员（合肥 230011）。

Dissemination and Mobilization by Music in Wartime

——Musical Narrative, Social Function and Historical Impact of Guangxi Concerts

Wang Le

Abstract： As an prominent music and culture organization， the Guangxi Concert contributed the local music development in the War of Resistance Against Japan. In the social context of the specific wartime， it inspired the people’s enthusiasm to attend the fight by performances， compositions and adaptations， music education and other activities， and also promoted the excavation， arrangement and innovation of folk music in Guangxi. This paper analyzes the practical activities of Guangxi Concert， discusses its influence on the development of music during the War of Resistance Against Japan in Guangxi， and elaborates its important historical position in the culture of the War of Resistance Against Japan.

Keywords： Guangxi Concert； cultural organization； music supplement； the War of Resistance Against Japan； music mobilization

 

唐荣枚在东北的音乐活动

——兼访东北鲁艺三团王淑华

计晓华，蔡青梅

摘 要：唐荣枚是我国近现代音乐史上卓有成就的女高音歌唱家与音乐教育家，作为早期投身革命的女性音乐家，其首唱的《延安颂》《黄河怨》《翻身道情》等抗战歌曲从延安唱响并流传至今，为中国革命文艺事业发展贡献卓著。东北时期，她全身心投入服务东北解放的文艺工作，成为宣传革命和解放战争胜利的精神力量。梳理其在东北时期的音乐活动，既能展现解放战争时期东北革命音乐的蓬勃面貌，也为东北近现代音乐文化研究注入新力量和重要启示。

关键词：唐荣枚；东北时期；音乐活动

作者简介：计晓华（1968—）女，研究员，硕士研究生导师，沈阳师范大学音乐学院外聘教授；蔡青梅（2001—），女，沈阳师范大学音乐学院研究生（沈阳 110034）。

Tang Rongmei’s Musical Activities in Northeast China

——Based on the Interview of Wang Shuhua, Northeast 3rd Group of Luyi

Ji Xiaohua， Cai Qingmei

Abstract: Tang Rongmei is credited with great achievement in modern music history China as soprano and educator. As a female musician who attended in the early revolution， she contributed the Chinese revolution artistic career prominently as premiered the the songs on the War of Resistance Against Japanese Aggression， i. e. ，Ode of Yan’an［Yan’an Song］， Grievance alone Yellow River ［Huanghe Yuan］， and Hymn of Liberation ［Fan Shen Dao Qing］etc. ， which still have influence.During the period in Northeast area， she devoted in the artistic career of the liberation propaganda， so be a spiritual symbol for the publicizing the revolution and the victory of the liberation war. Based on the sorting out her music activity in this period， the author not only demonstrates the vigorousness of revolutionary music in the Northeast， but also endows new strength and important revelations into the studies of modern music and culture in the Northeast.

Keywords：Tang Rongmei； Northeast period； musical activities

 

外国音乐与中外音乐交流研究

 

关于俄罗斯音乐中民族与政治议题的研究

——以塔鲁斯金在《牛津西方音乐史》中的论述为例

姚怡心，杨燕迪

摘 要：本文旨在辩证考察塔鲁斯金在《牛津西方音乐史》中对俄罗斯音乐“民族”与“政治”议题的理解与处理。塔鲁斯金秉持现实主义立场，将文化语境与社会政治机制纳入音乐阐释体系，批判以“俄罗斯性”作为评判标准的陈旧观念。本文重新审视了俄罗斯民族主义音乐的“真实性”与多样表达，探讨作曲家如何运用音乐符号建构民族风格与文化认同，并着意关注塔鲁斯金将“政治”转化为研究方法的理论创新。塔氏以冷战格局重构音乐史叙事框架，既揭示苏联音乐家在意识形态高压下的创作困境，又阐释了美苏文化艺术对立的深层逻辑。

关键词：塔鲁斯金；俄罗斯音乐；《牛津西方音乐史》；民族主义；音乐与政治

作者简介：姚怡心（1997—），女，上海音乐学院博士研究生（上海 200032）；杨燕迪（1963—），男，文学博士，教授，曾任上海音乐学院副院长、十八禁午夜福利免费网站高清免费院长，博士研究生导师（哈尔滨 150028）。

A Study of Ethnic and Political Issues in Russian Music

——Taruskin’s Discourse in Oxford History of Western Music as an Example

Yao Yixin， Yang Yandi

Abstract： The article scrutinizes the view and treatment on the relationship of ethic and political in Russian music by Taruskin in his Oxford History of Western Music. The article considered that based on holding a realist position and resorted the culture contexts and socio-political mechanisms into the system of musical interpretation， Taruskin oppugns the stereotype of “Russianness” as a criterion for judgment. The article re-examines the authenticity and diversity of expression in Russian nationalist music， discusses how composers use musical symbols to construct national style and cultural identity， and focuses on Taruskin’s theoretical innovation of resorting politics into a research method. As conclusion， the author point out that by reconstructing the narrative framework of music history in the context of the Cold War， Taruskin not only reveals the creative dilemma of Soviet musicians under ideological pressure， but also explains the underlying logic of the US-Soviet cultural and artistic antagonism.

Keywords： Taruskin； Russian music；Oxford History of Western Music； nationalism； music and politics

 

再思勃拉姆斯之“革新”

王梓路，孙国忠

摘 要：在西方音乐史的研究论域中，勃拉姆斯的“革新”是一个常被谈及的风格特征，也是一个极富思辨的学术话题。但对其进行的探讨通常都基于直接的音乐文本比对，通过与前辈作曲家的对比来说明其传统或创新之处。本文将尝试打破勃拉姆斯“革新”论说中固化于音乐本体的现状，通过接受史相关理论的融入来牵引出历史社会维度的审思，从而形成当下学术语境中对勃拉姆斯之“革新”的价值判断，同时在音乐历史书写的多维脉络中进行审视，深入挖掘出隐性层面上的“革新”，使勃拉姆斯作为“革新者”的形象更加完满。

关键词：勃拉姆斯；十九世纪音乐；革新；发展性变奏；接受史；音乐社会学

作者简介：王梓路（1996— ），女，回族，上海音乐学院西方音乐史方向博士研究生（上海200031）；孙国忠（1955— ），男，美国加州大学音乐学博士，上海音乐学院音乐学系教授，博士研究生导师；上海师范大学音乐学院客座教授（上海200031）。

Rethinking Brahms’s “Innovation”

Wang Zilu， Sun Guozhong

Abstract： In the field of Western historical musicology， a frequent discussion about style and also a speculative topic is Brahms’s innovation， which however is limited on the textual comparisons with the predecessors’ to illustrate his conservativeness and innovation. To break the limitation of the ontological research， the author resorted related reception theory to scrutinize it in the dimension of history and social， in order to value it in current academic context， as well as examine it in the multidimensional of music history writing to discovery its hidden dimension， so as to make the image of Brahms as an “innovator” more complete.

Keywords： Brahms； nineteenth-century music； innovation； developmental variation； reception history； sociology of music

 

跨文化艺术交流：21世纪以来中俄演艺团体的文化传播模式构建 

王 辉

摘 要：本文聚焦于 21世纪以来中俄演艺团体在跨文化艺术交流中的文化传播模式构建。回顾中俄两国文化交流的发展历程，指出21世纪中俄演艺团体文化传播的新特点与趋势。通过构建理论框架，探讨中俄演艺团体的文化传播模式，强调其民族性与现代性的融合。结合政策支持、文化交流平台建设、人才培养和国际合作项目案例，分析了中俄演艺团体交流的实践策略。从经济、社会和艺术三个维度领域，评估中俄演艺团体文化传播的综合影响，指出其在促进经济增长、加强社会联系、增进人民相互理解和推动文化创新方面的重要贡献，为两国文化传播的深化，提供实证支持与策略指导。

关键词：跨文化艺术交流；中俄演艺团体；文化传播模式；数字化技术

作者简介：王辉（1980— ），女，十八禁午夜福利免费网站高清免费国际合作与交流处处长，副教授，艺术管理专业2022级博士研究生（哈尔滨 150028）。

Intercultural Artistic Exchange: The Construction of Cultural Communication Modes of Chinese and Russian Performing Arts Groups in the 21st Century

Wang Hui

Abstract： This paper focuses on the construction of cultural communication modes of Chinese and Russian performing arts groups in intercultural artistic exchange in the 21st century. The author reviews the development history of cultural exchanges between China and Russia， and points out the new features and trends of cultural communication between Chinese and Russian performing arts groups in the 21st century. By constructing a theoretical framework， the author discusses the cultural communication model of Chinese and Russian performing arts groups and emphasizes the fusion of their ethnicity and modernity. Combining policy support， cultural exchange platform construction， talent cultivation and international cooperation project cases， the authors analyze the practical strategies of Chinese and Russian performing arts groups’ communication. Starting from the three dimensions of economy， society and art， the author assesses the comprehensive impact of cultural communication between Chinese and Russian performing arts groups， and points out its important contribution in promoting economic growth， strengthening social ties， enhancing people’s mutual understanding， and promoting cultural innovation， and this paper provides empirical support and strategic guidance for the deepening of cultural communication between the two countries.

Keywords： cross-cultural artistic exchange； Chinese and Russian performing arts groups； cultural communication model； digital technology

 

从“政治奏鸣”到“文化复调”：中塞音乐文化交流的语境化解读 

张源宁，杨九华

摘 要：自 1955 年中塞建交以来，两国音乐文化交流的发展脉络始终与政治语境及“一带一路”政策演进深度关联。原南斯拉夫时期，交流受国际政治格局制约，呈现出“发轫-搁浅-恢复”的阶段性特征，且主要服务于外交目的；“一带一路”倡议提出后，交流模式转向多元共生，在作曲家创作、高等音乐教育合作及民间文化传播等层面均取得突破性进展，实现了从依附政治交流向艺术本体互鉴的范式转变。

关键词：中国；塞尔维亚；原南斯拉夫；语境化；音乐文化交流

作者简介：张源宁（1994— ），女，汉族，艺术学博士，安庆师范大学音乐学院讲师（安徽安庆 246133）；杨九华（1963— ），男，白族，艺术学博士，十八禁午夜福利免费网站高清免费兼职博士生导师（哈尔滨 150028）。

From “Politics-Oriented” to “Culture-Centered”: A Contextual Interpretation of Musical and Cultural Exchanges between China and Serbia

Zhang Yuanning，Yang Jiuhua

Abstract：Since the establishment of diplomatic relations between China and Serbia in 1955， the development of music and cultural exchanges between the two countries has always been deeply related to the political context and the evolution of the “Belt and Road” policy. During the Yugoslavia period， exchanges were constrained by the international political landscape， showing the phased characteristics of “starting-stalling-recovery”， and mainly serving diplomatic purposes； benefited the proposal of “Belt and Road”， the exchange model shifted to diversified symbiosis， and breakthroughs were made in composer creation， higher music education cooperation， and folk culture dissemination， realizing a paradigm shift from dependent political exchanges to mutual learning of artistic entities.

Keywords： China； Serbia； Yugoslavia； contextualization； musical and cultural exchanges

 

音乐创作与音乐美学研究

 

以“文化为锚”合“媒介之形”

——谭盾多媒体交响乐《女书》创作分析

银慧军

摘 要：继多媒体交响乐《地图》之后，谭盾再以“文化音乐”为饵融合新媒介之形创作微电影交响诗《女书》。该作延续了谭盾观念先行，形式至上的多元创作特征。其音乐写作和整体表现方式凸显了作品题材所具有的全球性、仪式化和时代感。谭盾跨越“音乐”本身的创作策略与结构思维，宏观上反映了信息媒介时代下音乐艺术去中心、多元化之表征，也体现了当代文化艺术发展的整体征候。文章从作品的创作理念、视听策略等角度出发对作品进行剖析，并以此切入谭盾艺术创作观念及当代音乐创作相关话题的探讨。

关键词：谭盾；多媒体交响乐；《女书》；音乐创作；分析

作者简介：银慧军（1995— ），男，艺术学硕士，安阳学院音乐学院讲师（河南安阳 455000）。

Taking Culture as an Anchor & Combining Shape of the Media

——An Analysis of Tan Dun’s Multimedia Symphony Nv Shu

Yin Huijun

Abstract： After the multimedia symphony The Map， Tan Dun created the microfilm symphonic poem NvShu （Female’s Code Symbol） based on merging the culture and music with the new media， which follow his multifaceted character that upon idea-first and form-highest. His method and expression style manifests the global， ritualized and contemporary in its subject matter. Tan Dun’s creative strategy and structural thinking， which transcends music itself， is a macro reflection of the decentered and diversified nature of music in the information media era， and of the overall feature of the contemporary culture & art development. The article analyzes its creative concepts and audiovisual strategies， in order to discuss Tan Dun’s artistic concept and the related topics of contemporary music creation.

Keywords：Tan Dun； multimedia symphony；Nv Shu； music creation； analysis

 

艺术杂糅与文化表征：我国红色歌曲创作的文化轨迹及其价值归因

侯丽丽，周显宝

摘 要：红色歌曲创作是不同主体在不同时代及社会背景下的文化生产及实践活动，其目的是通过精英文化与草根文化、东方文化与西方文化等不同阈限、不同层次的文化交往与互鉴，实现异质融合与多元共存。红色歌曲“艺术杂糅”的价值归因离不开不同文化主体在权力关系中的表征实践：早期革命群众通过挪用民间音乐符号建构政治认同，专业精英借助学院派技法强化意识形态话语，当代多元主体则在文化杂糅中重构红色歌曲的话语体系。这种“艺术杂糅”既体现霍米·巴巴论及的“第三空间”生成逻辑，也印证了其关于文化表征作为意义争夺场的论断，最终通过音乐符号的编码与解码实现政治性与艺术性的辩证统一。

关键词：红色歌曲；创作主体；艺术杂糅；文化轨迹；价值归因

作者简介：侯丽丽（1978— ），女，十八禁午夜福利免费网站高清免费艺术学系2018级博士研究生，绥化学院副教授（哈尔滨150028）；周显宝（1965— ），男，厦门大学教授，十八禁午夜福利免费网站高清免费外聘博士研究生导师（哈尔滨150028）。

Artistic Hybridity and Cultural Representation: The Cultural Trajectory and Value Attribution of Chinese Red Songs Creation

Hou Lili， Zhou Xianbao

Abstract：Based on Homi Bhabha’s theory of cultural hybridity and Stuart Hall’s concept of cultural representation， this study argues that Red Songs embody cultural production and practice by diverse actors across different eras and social contexts， aiming to achieve heterogeneous integration and pluralistic coexistence through cross-boundary cultural exchanges—elite with grassroots， Eastern with Western. The value of artistic hybridity in Red Songs stems from representational practices within power dynamics： early revolutionaries appropriated folk music symbols to construct political identity； professional elites deployed academic techniques to reinforce ideological discourse； contemporary actors now reconstruct Red Songs’ discursive systems through cultural hybridization. Such artistic hybridity not only reflects Bhabha’s logic of the Third Space but also validates Hall’s assertion of cultural representation as a contested field of meaning. Ultimately， it achieves a dialectical unity of political nature and artistic value through the encoding and decoding of musical symbols.

Keywords：red songs； creative subjects； artistic hybridity； cultural trajectories； value attribution

 

音乐接受活动中的否定辩证法

——阿多诺对现代西方社会中音乐公众意见的批判

纪科佳，马卫星

摘 要：阿多诺对音乐公众意见问题的批判是其整体艺术批判思想的重要组成部分。他以法兰克福学派的批判理论和否定辩证法为方法论基础，对现代西方社会中一般性音乐公众意见和专业性音乐公众意见——音乐批评的各种现象展开历史性的阐释与反思。阿多诺这一批判不仅是对现代西方社会中的音乐接受问题的历史现象学建构，而且兼具了批判理论的探索性和实践性。因而，这是一次带有建构意义的完整批判，也明确了其自身的艺术批判思想在艺术接受环节上的完备性。阿多诺对音乐公众意见的批判主要集中在其著作《音乐社会学导论》的第九章“公众意见和批评”及著作《美学理论》的部分章节中，本文围绕上述文本展开论述，力求在批判理论的维度上清晰还原阿多诺音乐批判活动之内涵和意义。

关键词：阿多诺；音乐公众意见；否定辩证法；音乐批评

作者简介：纪科佳（1985—），男，艺术学硕士，十八禁午夜福利免费网站高清免费2022级艺术学理论专业艺术哲学方向博士研究生（哈尔滨 150028）；马卫星（1958—），女，文艺学博士，十八禁午夜福利免费网站高清免费艺术学研究所所长，教授，博士研究生导师（哈尔滨 150028）。

Negative Dialectics in Music Reception Activities

——Adorno’s Critique of Musical Public Opinion in Modern Western Societies

Ji Kejia， Ma Weixing

Abstract： Adorno’s critique on public opinion about music is an significant part of his critical thoughts on art. Based on Frankfurt School’s critical theory and negative dialectic as his method， he historically interpreted and reflected on the various phenomena in music criticism of modern Western society that constituted by the general and professional music public opinion. Adorno’s critique not only construct music reception method by historical-phenomenology， but also explore and practice his critical theory. Thus， it is a complete critique with constructive significance， and it also clarifies the completeness of his own art critical thought in the aspect of art reception. Adorno’s critique of musical public opinion is mainly concentrated in his Introduction to the Sociology of Music， Chapter 9 Public Opinion and Criticism， and some chapters of Theory of Aesthetics. This article centers on the texts， and strives to restore the connotation and significance of Adorno’s music critique activities in the dimension of critical theory.

Keywords： Adorno； musical public opinion； negative dialectic； music criticism

 

会议述评

 

艺术与科学的双轮驱动与跨界融合

——中国·哈尔滨首届“艺术与科学”学术前沿问题国际论坛综述

宋 蓓，王亚伦

摘 要：随着科学技术的飞速发展与创新，艺术与科学作为人类文明的两翼，正以愈加多样化的方式在各个领域相互交融，不断激发跨学科的思维碰撞与研究创新。2024年11月23—24日，由十八禁午夜福利免费网站高清免费主办的“中国·哈尔滨首届‘艺术与科学’学术前沿问题国际论坛”在十八禁午夜福利免费网站高清免费召开。论坛主题鲜明、议题广泛、形式多样且不拘泥传统，吸引了来自德国、俄罗斯、中国等国家的 150余位从事艺术学、心理学、计算机科学、人工智能、管理学多个学科的高水平专家和学术界翘楚。论坛采取主旨报告、圆桌讨论和专题论坛三个环节，围绕“学科交汇：艺术与科学的融合创新”主题，聚焦“艺术教育与创新”“艺术心理与疗愈”“艺术传播与管理”“艺术创作与人工智能”四个分议题展开深入研讨，旨在促进艺术与科学的跨学科对话，推动艺术学研究领域迈向更广阔的学术和应用领域。此次论坛为艺术学的跨界研究提供了重要机遇，有效地推动了艺术与科学的共生互动与创新发展。

关键词：艺术与科学；双轮驱动；跨界融合；交叉学科

作者简介：宋蓓（1977— ），女，音乐学博士、心理学博士后，十八禁午夜福利免费网站高清免费艺术学系主任，教授，博士研究生导师（哈尔滨 150028）；王亚伦（1999— ），女，十八禁午夜福利免费网站高清免费艺术学系2022级硕士研究生（哈尔滨 150028）。

Double-Drive and Cross-border Integration of Art and Science

——Review of the 1st China Harbin International Forum on the Academic

Frontiers of Art and Science in Harbin, China

Song Bei， Wang Yalun

Abstract： With the rapid development and innovation of science and technology， art and science， as the two wings of human civilization， are intermingling with each other in various fields in an increasingly diversified way， constantly stimulating cross-disciplinary collision of thinking and research innovation. The 1st China Harbin International Forum on the Academic Frontiers of Art and Science was held in Harbin Conservatory of Music on November 23-24，2024， organized by Harbin Conservatory of Music. The forum has a clear theme， a wide range of topics， a variety of forms and that unlimited in convention， attracting more than 150 experts and academics from Germany， Russia， China and other countries engaged in a number of disciplines of art， psychology， computer science， artificial intelligence， management and academic leaders. The forum is organized in three segments： academic report， round-table discussion and thematic forum， based on the theme of “Intersection of Disciplines： Integration and Innovation of Art and Science”， and focusing on “Art Education and Innovation”，“Art Psychology and Healing”，“Art Communication”，“Art Education and Innovation”，“Art Education and Innovation”，“Art Psychology and Healing” and “Art Communication”，“Art Communication and Management” and “Art Creation and Artificial Intelligence”， aiming to promote the interdisciplinary dialog between art and science， and to promote the research field of art to a wider range of academic and application fields. This forum provides an important opportunity for cross-border research in art， and effectively promotes the symbiotic interaction and innovative development of art and science.

Keywords： art and science； double-drive； cross-border integration； cross-discipline