音乐学术的进步与研究者的视野、思路、方法的开拓密切相关。近年来,学术领域“跨界”、“跨学科”、“接通”等相关概念的兴起,说明传统的学科意识、学科界域与治学方法正在发生变化。①这些概念的兴起,在给音乐理论研究带来新契机、新思路的同时,也给予音乐表演一定的启示。一般而言,器乐演奏者在面对技术能力与理论修养时容易有所偏颇,“重技艺、轻理论”的现象依然存在,但音乐学学科理论往往能够给音乐实践以深刻的启示。身演奏技艺、欣赏者等一样重要。《论音乐作品的本质》一文发表至今已近半个世纪,传入中国也有数十年,但其对音乐作品本质的探讨,时至今日仍具有一定的研究意义,值得借鉴、思考。虽然这是纯理论的探讨,但器乐演奏者依然能够从中得到许多有意义的启发。在演奏一部音乐作品时, The academic progress of music is closely related to the development of researchers’ vision, ideas and methods. In recent years, the rise of the related concepts such as “cross-border”, “interdisciplinary” and “connected” in the academic field shows that the traditional disciplinary awareness, subject boundaries, and methods of studying scholarship are undergoing changes. ① The rise of these concepts, while bringing new opportunities and new ideas to the study of music theory, is also giving enlightenment to music performances. In general, instrumentalists tend to be biased in the face of technical ability and theoretical cultivation, and “heavy art, light theory” still exists. However, the theory of musicology can often give a profound revelation to musical practice. Body playing skills, appreciators, etc. are as important. The article “The Nature of Musical Works” has been published for almost half a century now and has been introduced into China for decades. However, its exploration of the nature of musical works still has some significance for research and is worth learning from. Although this is a purely theoretical discussion, the instrumentalist can still find many meaningful insights. While playing a musical piece,