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.