王美珠（1951），音樂學家，專長為系統音樂學與音樂美學。早年就讀國立政治大學哲學系，奠基於中國哲學、佛學與當代西方哲學之訓練，並隨旅臺奧地利鋼琴家蕭滋（Robert Scholz）習琴。後赴德國漢堡大學攻讀博士學位，主修系統音樂學，兼及歷史音樂學與哲學。其博士論文《西洋音樂理論與美學對中國音律、數字與思想體系的接受與詮釋》（Die Rezeption des chinesischen Ton-, Zahl- und Denksystems in der westlichen Musiktheorie und Ästhetik），確立其跨文化音樂思想研究之方向。返臺後，歷任東吳大學與國立臺北藝術大學音樂系暨音樂學研究所教授，長期致力於建構臺灣系統音樂學之學術基礎與教學體系。其學術工作以系統音樂學之跨學科方法為核心，關注音樂與哲學、文化、符號及認知之關係，並致力引介歐陸理論脈絡。主要著作包括《音樂・文化・人生》、《音樂・跨域・文集》及《音樂美學：歷史與議題》，為華文音樂學界重要參考。在臺灣音樂學發展中，王美珠引入並深化系統音樂學之跨學科取徑，推動音樂研究由歷史敘事，拓展至多元領域的理論思辨與文化詮釋，對學科發展與國際接軌產生深遠影響。

WANG Mei-chu (b. 1951), is a musicologist specializing in systematic musicology and music aesthetics. In her early years, she studied in the Department of Philosophy at National Chengchi University, where she established a foundation in Chinese philosophy, Buddhism, and contemporary Western philosophy while studying piano under the Austrian pianist Robert Scholz, who was then based in Taiwan. She later pursued a doctoral degree at the University of Hamburg in Germany, majoring in systematic musicology with minors in historical musicology and philosophy. Her doctoral dissertation, Die Rezeption des chinesischen Ton-, Zahl- und Denksystems in der westlichen Musiktheorie und Ästhetik (The Reception of Chinese Tone, Number, and Thought Systems in Western Music Theory and Aesthetics), established her research direction in cross-cultural musical thought. After returning to Taiwan, she served as a professor in the music departments and graduate institutes of musicology at Soochow University and Taipei National University of the Arts, dedicating herself to building the academic foundation and pedagogical system of systematic musicology in Taiwan. Her academic work centers on the interdisciplinary methodology of systematic musicology, focusing on the relationships between music and philosophy, culture, semiotics, and cognition, while actively introducing European theoretical frameworks. Her major publications include Music, Culture, Life, Music, Trans-domain, Collected Works, and Musical Aesthetics: History and Issues, which serve as vital references in the Chinese-speaking musicological community. Within the development of musicology in Taiwan, Wang Mei-chu introduced and deepened interdisciplinary approaches to systematic musicology, driving music research to expand from historical narratives into multi-dimensional theoretical speculation and cultural interpretation, profoundly influencing the discipline's growth and international integration.