论文由四个部分构成。首先,“史学原理”的提出缘于对中国音乐史学长期发展过程中存在的结构性问题的反思。其次,论文从中国音乐史学基本问题出发,探讨了“史学原理”建构的理论动因与必要性。第三部分阐明了中国音乐史学原理建构的具体诉求,强调通过体系性重塑实现学科规格与学术自主性的提升。第四部分则系统论述了中国音乐史学原理建构的理论方法、书写方式及其研究领域的拓展,包括对中国音乐史学概念与方法的界定,对文献整理、编纂与书写研究的推进,以及研究领域在文化史、社会史视野下的延展。最后,在结语部分,作者总结指出,原理的构建标志着中国音乐史学研究将从“经验知识”转向“理论知识”,从“历史收集”转向“历史表达”,这一过程不仅是认识论的深层转向,也是学术文化自我觉悟与自主确立的重要进程,旨在推动中国音乐史学成为具有理论能力与文化高度的历史思维形式。

This paper is structured into four parts.Firstly,the proposal of “historiographical principles” stems from a critical reflection on the persistent structural issues within the long-term development of Chinese music historiography.Secondly,departing from the fundamental questions of the field,the paper explores the theoretical motivations and necessity behind constructing these principles.The third part clarifies the specific objectives of this constructive endeavor,emphasizing the enhancement of the discipline's standards and academic autonomy through a systemic reshaping.The fourth part systematically discusses the theoretical methods,modes of writing,and the expansion of research areas involved in establishing these principles.This includes defining the core concepts and methodologies of Chinese music historiography,advancing the study of document collation,compilation,and writing,and extending the research scope through the perspectives of cultural and social history.In the conclusion,the author summarizes that the construction of these principles signifies a pivotal shift for Chinese music historiography:from relying on “empirical knowledge” to formulating “theoretical knowledge,” and from mere “collection of historical facts” to active “historical interpretation.” This process represents not only a profound epistemological turn but also a crucial journey of academic cultural self-awareness and self-determination,ultimately aiming to establish Chinese music historiography as a form of historical thinking endowed with theoretical rigor and cultural depth.