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[intro_text] => 本书为《京师爱乐丛书》之一。《京师爱乐丛书》是一套中国最资深爱乐者的美文集，内容涉及音乐流派、音乐史论、音乐家及其作品评介、音乐会现场评论、唱片版本与收藏、音乐事件剖析、音乐跨界探索等，部分内容刊发于《爱乐》《音乐爱好者》《歌剧》《音乐周报》《留声机...
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[lastchapter] => 关于乐评人的纷争似乎就像春去冬来一样年复一年。圈内圈外之争、识谱与否之争、前辈新秀之争，有的是观念和观点不同，有的是立场角度相异，有的是夹杂着观点、角度和立场的帮派间火并，这样的纷争没有穷尽也没有结果，不是把纷争双方都炒红，就是两败俱伤。
文人相轻自古就有，而我一直在想如何找到一个衡量乐评人资历和水平的有据可依的方法。在国家的职称体系中，中高级三档职称已经远远不能满足年青一代挑战前辈的需要，而且越来越多体系和体制外的评论人的出现也使对乐评人本身业务水平的鉴定成了当务之急。就如曾有乐界大鳄在私下对我发飙时说的：“你说我好，我很高兴。你说我不好，请问你有何德何能说我不好？你会演奏吗？你会指挥吗？你做过乐团管理吗？你凭什么说我不好？”乐评人的莫大尴尬就在于此。
半官方机构其实早在多年前就开始觊觎乐评界，比如挂靠在音乐家协会下的二级组织中国音乐评论学会。这一学会的官方色彩、对作品分析的偏重和对
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