Введение. В статье рассматриваются истоки и эволюция исследований китайской музыкальной культуры, охватывающие работы на русском, китайском и европейских языках. Актуальность исследования обусловлена растущим во всем мире интересом к китайской музыке и необходимостью систематизации существующих подходов к этому явлению самобытной китайской культуры. Научная
новизна заключается в комплексном анализе сложившихся методологических подходов и интерпретаций, а также в выявлении ключевых тенденций в изучении китайской музыкальной традиции.
Содержание. В исследовании применяется сравнительно-исторический и библиографический методы, позволяющие систематизировать источники по хронологии, языковой принадлежности и научным школам. Особое внимание уделено трудам западных авторов, китайских и советских музыковедов, а также современным исследованиям в области музыкальной синологии. Выделены методологические различия в подходах к изучению китайской музыки, включая этномузыковедческие, культурологические и исторические аспекты.
Выводы. Исследование демонстрирует, что ранние работы западных авторов заложили основы изучения китайской музыки, тогда как современные исследования отличаются междисциплинарным подходом. Выявлен дефицит систематизированных библиографических обзоров, что подчеркивает значимость данной статьи для дальнейшей разработки этой темы. Обзор показывает: музыкальная синология развивается в сторону углубленного анализа культурных и философских контекстов, что открывает новые перспективы для сравнительных исследований в области философских оснований восточной и западной музыкальных традиций.
Introduction. This article examines the origins and evolution of research on Chinese music studies, encompassing works in Russian, Chinese, and European languages. The study's relevance stems from the growing scholarly interest in Chinese music within the context of globalization and the need to systematize disparate academic works. Its scientific novelty lies in the comprehensive analysis of methodological approaches and interpretations, as well as in identifying key trends in the study of Chinese musical traditions.
Content. The research employs comparative-historical and bibliographic methods to systematize sources chronologically, by linguistic origin, and according to academic schools. Particular attention is given
to works by Western scholars, Chinese and Soviet musicologists, as well as contemporary studies in the field of musical traditions of China. The analysis focuses on methodological differences in approaches to studying Chinese music, including ethnomusicological, cultural, and historical aspects.
Conclusions. The study demonstrates that early Western scholarship laid the foundation for the study of Chinese music, while contemporary research is characterized by an interdisciplinary approach. A notable gap in systematic bibliographic reviews has been identified, underscoring the importance of this article for future research. Chinese music studies are evolving toward deeper analysis of cultural and philosophical contexts, opening new perspectives for comparative studies of Eastern and Western musical traditions.
Казымова Лейла Аллахверди гызы-
Московский государственный институт международных отношений (университет) МИД РФ
Москва, Российская Федерация
leilakazym@gmail.com
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