王光祈的《中國音樂史》，是二十世紀初中國音樂史發展初期幾本先聲之作 中，最受重視，亦是討論最多的一本。該書自1934 年出版以來，至今已有不下 25 餘種刷次、版次，綜觀當代諸本中國音樂史著作，鮮有能出其右者。該書雖名 為「中國音樂史」，但編排架構不同於一般以時間順序排列的音樂通史，而是就 律、調、樂譜、樂器、樂類等項目分別討論。就內容而言，該書僅在上冊關於 律、調方面，有較為深入的歷時性論述，下冊關於樂譜、樂器、樂類方面之內 容，則相對地十分簡略。以音樂通史的標準來看，該書無論在系統性或內容方 面，皆有所不足，也因此相關的書評、研究，皆以上冊的律調研究為主要的關注 對象，而輕略下冊的缺失。然若以王光祈當時的歷史及地理條件而論，該書做為 中國音樂史寫作發展的重要著作，著實反映出，王光祈身處二十世紀初各種中 西、古今條件交錯的時空之中，所要極力掌握，並以此作為中國音樂史基礎的研 究原則。本文將藉由王光祈在德國的音樂學研究歷程，與比較音樂學之影響，來 探討《中國音樂史》的寫作思考，與所呈現的歷史意涵。

Wang Guangqi's Zhongguo yinyue shi (History of Chinese Music) is one of the most important books in the early years of the development of Chinese music history at the beginning of the 20th century. Since its first publication in two volumes in 1934, there have been incomparably no less than 25 reprints or republications of this book; the latest was released in 2015. Despite titling it as “History of Chinese Music”, Wang Guangqi did not arrange this book in chronological order, but discussed the historical issues of temperament, tonality, notation, instruments and musical genres separately in different chapters. In terms of the content, the quality between the two volumes is not equal. Wang Guangqi focused most of his efforts on chapters in Volume I on temperament and tonality rather than the practice of specific musical genres in the insufficient Volume II. As a general history of music, Wang’s Zhongguo yinyueshi has shown deficiency both in systematization and in comprehensiveness. Accordingly, most of the reviews at that time as well as research on this book nowadays mainly focus on Volume I yet neglect the other volume. Nevertheless, considering the conditions and circumstances of the early 20th century China and Germany in which Wang Guangqi had lived successively, this book had exactly reflected the different collision and effect historically and geographically of the era when Chinese music encountered Western music and underwent a great cultural shock. In this essay, I trace the musicology learning and study process of Wang Guangqi in Germany with his literary works as well as the influences of comparative musicology on him, and examine his method and concept of writing music history in Zhongguo yinyueshi, and the multiple historic meanings of this book.