本真表演产生于19世纪末,兴盛于20世纪下半叶,是西方音乐表演领域一股十分重要的潮流。其中涌现出众多优秀的表演者,如阿诺尔德·多尔梅奇、旺达·兰多芙斯卡、斯坦福德·凯普、尼古拉斯·哈农库特、约翰·嘉丁纳等。就在人们雄心勃勃地重构过往音乐并取得不俗成绩之时,一些富于批判精神的学者开始质疑本真表演的初衷及其可行性,他们的言论使人们不得不重新审视本真表演的本质与真正价值所在。本文将选取两位有代表性的质疑者,分别是美国音乐学家理查·塔鲁斯金及英国音乐学家丹尼尔·里奇-威尔金森,比较二者主要观点、论述思路之异同,并力图揭示他们所秉持的共同哲学信念。 Produced in the late 19th century, this real performance flourished in the second half of the 20th century and was a very important trend in the field of western music performance. There are many outstanding performers such as Arnold Dolmec, Wanda Landovska, Stamford Kepler, Nicolas Hannon Kurt, John Gardiner and others. Just as people ambitiously reconstructed past music and achieved good results, some critics of critical thinking began to question the original intention and feasibility of this performance, their remarks so that people have to re-examine the true performance The essence and the real value lies. This article will select two representative questioners, namely, the American musicologist Richard Taluskin and the British musicologist Daniel Rich-Wilkinson, comparing the two main points of view, discusses the similarities and differences of ideas, And seeks to unveil the common philosophical beliefs they uphold.