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本文对何安东在中国现代音乐史上的贡献及应处的地位,进行论述,涉及新发现的何安东译文《钢琴视奏的学习》、三部男声合唱《山歌》,及音乐史学界书写中国近现代音乐史相应的音乐理念之批判。
This article discusses He Andong’s contributions in the history of modern Chinese music and the place he should deal with. It involves the newly discovered translations of He Andong’s “Learning from the Piano,” the three male chorus “folk songs” and the writing of modern Chinese music by music historians The corresponding criticism of musical ideas.