摘要：ethnomusicology边界问题引发了定义的多样性,何以勘测学科边界、以何方法研究学科构成了独立存在的价值标志,是考量学科成熟的必要条件。ethnomusicology对于中国音乐学界来说,不仅有"民族音乐学"与"音乐人类学"等称谓之辩,更重要的是还有学科归属与合法性的疑虑。音乐学界的排斥和人类学界的忽略是ethnomusicology在中国遭遇的黑色风景线,聚焦于音乐本体如何在研究中的运用体现。

摘要：ethnomusicology的文化相对价值论,体现了现代文明对不同国家、民族、部落音乐文化的宽容、理解和尊重;坚持多元音乐文化的教育观,就要打破欧洲音乐中心论,广泛接触、共享世界上不同民族的音乐成果。多元智能理论与艺术综合教育观发掘、培养、彰显的是不同文化群体的每一个个体的个体智能和艺术潜力。

摘要：I propose to introduce a few lines of analysis for the RTP Song Contest （Portuguese Radio and Television Song Contest--Festival RTP da Cancāo）. I intend to raise a few questions that will help us to understand the role of this competition in the Portuguese musical and cultural scene of the 1960s. RTP Song Contest is the longest television song contest in Portugal. This competition went through several crucial moments in the recent history of Portugal, witnessing the change from dictatorship to democracy. In late 1960s, still under the authoritarian regime, several social changes took place and music played an important role in these changes, as several studies have documented. In 1969, Portugal bet on Simone de Oliveira to bring us the prize, but the result was not the expected. This event brought us many questions about the importance of the Portuguese participation in the Eurovision Song Contest and the faimess of the European evaluation. This paper intends to reflect the implications of this particular event and the importance of the Contest for the Portuguese music scene at the end of the critical 1960＇s. With this paper, I intend to introduce some lines of analysis of the first ten years of the Portuguese Radio and Television Song Contest （Festival RTP da Cang6o--RTP Song Contest）. I intend to raise a few questions that will help us to understand the role of this competition in the Portuguese musical and cultural scene of the late 1960s and 1970s, based on the study of the daily press. RTP Song Contest is the most long-life television contest in Portugal. For this reason, it is important to make a short historical overview of this period and the history of television in Portugal. At the same time, the analysis of statistical data of audiences enables us to understand the television phenomenon in the late 1960s.

摘要：The long-term goal of my research has been to systematize and compare by musical criteria the folk songs of Turkic groups and ethnicities living around them. Here I rarely touch on instrumental folk music, the repertoire of professional or semi-professional performers, the most recent strata, seldom or just occasionally discuss art music and the cultural, social and anthropological implications of music are only sporadically considered, too. There are close connections between the languages of Turkic groups but their musical stocks are fundamentally different. Actually, that is not surprising, because these people are, at least in part, Turkified, and through their substrata （that is people absorbed by them） they are in genetic and cultural relations with several non-Turkic peoples. My research therefore has repercussions; apart from the Turkic-speaking peoples tied by culture, language and history, upon their neighbors and partly absorbed other peoples, creating the foundation for an even broader future comparative ethnomusicological research of Eurasian groups. This paper is aimed to provide a very short summary about the findings of my field researches into the folk music of different Turkic-speaking people between 1987 and 2015. I introduce the sources, the collecting work and the methods of processing and analyzing the songs. 1 also give an analytical introduction to the folksong of Anatolian Turks, Azeris, Turkmens, Uzbeks （and Tajiks）, Karachay-Balkars, Kazakhs, Kyrgyzs, a Sufi Turkish community in Thrace and the area of the Volga-Kama-Belaya region. Finally comes a conclusion, a musical map and a list of tasks waiting for us.

摘要：1986年中国"民族音乐学会议"分化为"中国传统音乐学"和"中国少数民族音乐学"两个学会,而不能归属或不全归属于这两个阵营学术路径的个人及群伙坚守和追求ethnomusicology(音乐人类学/民族音乐学)的学术旨趣与学科理念,以上海音乐学院为龙头逐渐形成了旗帜鲜明的"音乐人类学"研究群体,取得了不菲的业绩,成为当前音乐文化研究的第三支重要力量。洛秦编《音乐人类学的理论与方法导论》的出版,是音乐人类学中国实践及其经验的标志性成果,表明音乐人类学在中国音乐研究实践取得了不可忽略的地位。

摘要：民族音乐学作为一种外来学科,从1980年南京会议到现在经历了四十余年,这其间,民族音乐学这门新兴的外来学科在中国从最初的稚嫩逐渐走向成熟。同时,也出现了许多专门研究民族音乐学的学者,也产生了很多关于民族音乐学的学术论文。民族音乐学在20世纪90年代末,曾经因为其学科命名的问题,在学界内产生许多争执。笔者通过整理这些年间一些比较有话语权的学者所发表的论文,进行综合研究归纳民族音乐学学科命名与发展的问题。