楊健，上海音樂學院音樂工程系教授，主要研究方向：音樂科技與音樂表演。 先後獲得工學學士（自動化）、小提琴演奏與教學碩士與西方音樂史博士學位; 主持完成國家社科基金藝術學項目《跨學科視野下的音樂表演體系研究》等國家級與國際合作課題十餘項; 發表論文、專著、譯著、樂譜、CD與App等百餘件。
音樂表演研究主要在歷史表演、音樂分析與科學實證的三重支撐下發展而成，與身俱來基於「跨學科視野」並具有較強的體系性思維，且更加強調學術研究與現實音樂生活的聯繫以及表演者本人的視角。 在人工智慧時代，音樂表演很難再單一依賴於直覺天賦與重複練習，因此跨學科音樂表演研究最主要的目的與意義便是通過多學科融合的方法，逐步打通從底層演奏（唱）技法直至頂層思辨之間的種種隔閡，以促進理論與實踐的雙向貫通。 本講座將通過多個案例來說明如何實現這種無縫整合與雙向貫通。
YANG Jian is Professor of Music Technology and Performance Studies at the Department of Music Engineering, Shanghai Conservatory of Music.
Since the second half of the 20th century, Musical Performance Studies have gradually become a popular field in the West, positively affecting practice and teaching. It is mainly developed under the triple support of historical performance, music analysis and empirical methods and is inherently based on an "interdisciplinary perspective" involving strong systematic thinking and emphasizing the experience of performers. In this rapidly developing era of media technology and artificial intelligence, it is almost impossible for musical performance teaching and practice to securely reach the elite standard without multidisciplinary support. Therefore, with the substantial promotion for inter-discipline and new liberal arts from the state, the main purpose and significance of interdisciplinary musical performance studies is to gradually get through the various barriers between the basic-level performance technique and the top-level academic thinking and to facilitate the two-way connection between theory and practice. In this lecture, several case studies will be analyzed to illustrate how can we achieve such a seamless integration and two-way connection.