蕭友梅是中國近現代音樂史中的首要人物，他在音樂教育與新音樂創作的卓著貢獻，奠定了中國現代音樂發展的基礎。蕭友梅借鑒西方音樂教育及創作方法，致力於音樂教育體制的建立，以及中國新音樂創作的開拓。人們常忽略蕭友梅做為音樂學家的身分，身為中國第一位以音樂學取得博士學位的學者，他也是第一位掌握音樂學方法進行中國音樂史研究的中國人。他以其音樂學之長，對於中國音樂發展的歷史進行研究與反省，希望以歷史為借鏡，由此尋得中國新音樂的基礎與發展途徑。蕭友梅在致力推展西方音樂方法近二十年後，於1939年規劃開授「舊樂沿革」課程，並撰寫課程講義《舊樂沿革》。《舊樂沿革》事實上即是一部中國音樂史，該書除了呈現了蕭友梅所受的歐洲音樂學專業訓練，亦反映出他在發展新音樂之時，對於中國傳統音樂所進行的反思。本文將以《舊樂沿革》為對象，從蕭友梅的中西音樂觀點出發，探究該書之寫作脈絡。

Yiu-mei Hsiao was one of the most important persons in the history of contemporary Chinese music. His contribution to music education as well as to music composition established the basis of Chinese new music. He founded China's first specialized institute of higher education for music based on the system of Western conservatory; moreover, he developed Chinese new music with Western compositional techniques. Nevertheless, an often neglected fact is that he was also a musicologist. Hsiao was the first one of Chinese scholars to have a PhD in musicology. He was a pioneer in applying musicological methods to the research of Chinese music history. He investigated the history of Chinese music and discovered the factors and problems hindering the development of Chinese music. All of his research regarding music mainly aimed at finding a new approach for the development of Chinese new music. After almost twenty years of debate on introducing and teaching Western music, Hsiao designed the "Evolution of Ancient Music" curriculum in 1939 and wrote Jiu yue yan ge for the course. Jiu yue yan ge is essentially a history of Chinese music. This book describes the progression of Chinese music from ancient times to the Qing Dynasty, all from the viewpoint of musicology. Moreover, it presents Hsiao’s reflection on Chinese ancient music, that of the initiator of Chinese new music. In this essay, I arrange Hsiao's perspectives of Chinese music and Western music based on his writings and aim to explore features of the writing context of Jiu yue yan ge.