本文選題：李皖 + 業(yè)余樂(lè)評(píng)人��； 參考：《上海音樂(lè)學(xué)院》2017年碩士論文

【摘要】：全文始于"中國(guó)流行音樂(lè)評(píng)論的困頓與希望"。困頓,指樂(lè)評(píng)人的集體缺位。長(zhǎng)期以來(lái),導(dǎo)致該現(xiàn)象的二點(diǎn)原因未能引起業(yè)界應(yīng)有重視——我國(guó)缺乏健全的音樂(lè)評(píng)論保護(hù)體制,尤欠穩(wěn)固的評(píng)論渠道、陣地;專業(yè)音樂(lè)學(xué)者與業(yè)余評(píng)論人各自為陣,跨學(xué)科交流的缺失大大影響了音樂(lè)評(píng)論產(chǎn)出的數(shù)量與質(zhì)量。筆者對(duì)此前三十年間華語(yǔ)流行音樂(lè)評(píng)論的文化生態(tài)做了史料性梳理,并獨(dú)辟蹊徑,介紹了業(yè)余樂(lè)評(píng)人寫作路徑、言論陣地,以及介入音樂(lè)產(chǎn)業(yè)的模式。而后,引入本文論述中心——李皖其人,著力介紹其鮮為人知的生平、教育背景、二重職業(yè)身份。第二章,簡(jiǎn)要回溯李皖的樂(lè)評(píng)寫作生涯,探析李氏樂(lè)評(píng)的寫作初衷、媒體陣地、聚焦重點(diǎn),為理解、評(píng)述李皖樂(lè)評(píng)提供必要背景環(huán)境。隨后,以李皖至今出版發(fā)行的11部樂(lè)評(píng)集錦作為研究主體,探討其評(píng)論對(duì)象的地域、體裁、風(fēng)格特征,并一窺樂(lè)評(píng)人李皖的藝術(shù)旨趣、寫作意旨。最后,筆者分出筆力,論述兩部"非主流"樂(lè)書——《多少次散場(chǎng),忘記了憂傷——六十年三地歌》與《人間、地域與天堂之歌》,分析李皖寫作大部頭音樂(lè)專著的視域、能力與使命感。第三章則聚焦李皖個(gè)人的文論特點(diǎn),談?wù)摴P者對(duì)李皖文字風(fēng)格的理解與不滿足感。他的樂(lè)評(píng)具有"甜的外觀,苦的內(nèi)質(zhì)",善于提煉共性與特性,長(zhǎng)于歌詞文本解讀。他的行文角度靈活多元。這種恣意不拘束的文風(fēng)得益于兩點(diǎn):評(píng)判立場(chǎng)游走于主位、客位之間,既張揚(yáng)個(gè)性、不畏下斷語(yǔ),又嚴(yán)苛公正、言之有物;他倡導(dǎo)通識(shí)教育,字里行間閃爍著新聞人、美學(xué)家、社會(huì)學(xué)家、史官、詩(shī)人五重身份的多維觀照與真知灼見(jiàn)。他的樂(lè)評(píng)語(yǔ)言婉麗清新,具有幽默、機(jī)智等修辭特點(diǎn)。此外,他對(duì)口語(yǔ)(甚至方言)寫作的偏愛(ài),對(duì)動(dòng)詞的別致把握,使其樂(lè)評(píng)生動(dòng)靈活、躍然紙上;詩(shī)化語(yǔ)言的運(yùn)用,更是增添了文字的深度、可讀性。第四章重點(diǎn)論述李皖的流行音樂(lè)美學(xué)。他將流行音樂(lè)作為藝術(shù)品嚴(yán)肅對(duì)待,關(guān)注流行音樂(lè)的"美" "理" "真",推崇"真誠(chéng)美學(xué)"。兼為"業(yè)余詩(shī)人"與"業(yè)余樂(lè)評(píng)人",李氏樂(lè)評(píng)于流行音樂(lè)中的"詩(shī)、詞、歌"關(guān)系頗具見(jiàn)地。他認(rèn)識(shí)到流行音樂(lè)的文本不能簡(jiǎn)單等同于歌曲歌詞,還包含許多復(fù)雜的音樂(lè)元素;歌詞與詩(shī)歌的差異極為顯著,但部分搖滾、民謠歌詞達(dá)到了詩(shī)歌的藝術(shù)高度,值得引起學(xué)者、詩(shī)人的重視;詩(shī)、歌同源,而后經(jīng)歷漫長(zhǎng)的分離,終于在民謠、搖滾二種流行音樂(lè)形式中重新融合。有別于諸多樂(lè)評(píng)人的是,李皖始終秉持著對(duì)藝術(shù)的敬畏之心,與評(píng)論對(duì)象保持安全距離;他長(zhǎng)逾二十年的樂(lè)評(píng)寫作始終貫徹著知識(shí)分子的使命感。
[Abstract]:The full text begins with the dilemma and hope of Chinese pop music review. Difficulty refers to the collective absence of music critics. For a long time, the two reasons leading to this phenomenon have not aroused the due attention of the industry-our country lacks a sound music commentary protection system, especially a sound comment channel and position. The lack of cross-disciplinary communication greatly affects the quantity and quality of music review output. The author makes a historical review of the culture and ecology of Chinese pop music reviews in the past 30 years, and introduces the writing path, the position of the amateur music critics, and the mode of intervention in the music industry. Then, this paper introduces the center-Li Wan his people, focusing on his little-known life, educational background, dual professional identity. In the second chapter, we briefly review Li Wan's career in music review, analyze the original intention, media position and focus of Li's music review, and provide the necessary background environment for understanding and commenting on Li Wan's music review. Then, taking 11 music criticism collections published by Li Wan up to now as the main body of study, this paper discusses the region, genre and style characteristics of the subjects of comment, and gives a glimpse of the artistic purport and writing intention of Li Wan. Finally, the author points out two "non-mainstream" music books-< how many times the end of the scene, forgot the sad-sixty years of songs in the three places > and "the earth, the region and heaven", and analyzed Li Wan's extensive music monographs. Ability and sense of mission. The third chapter focuses on the characteristics of Li Wan's personal literary theory, and discusses the author's understanding and discontentment of Li Wan's writing style. His music review has "sweet appearance, bitter endoplasm", is good at refining common character and characteristic, is longer than lyric text interpretation. His writing is flexible and diverse. This unrestrained style of writing benefits from two things: the judging position moves between the theme, the guest, the personality, not the fear of the conclusion, but also the harsh and just, the substance of the words; he advocates general education, the words flickering between the press, aesthetician, Social scientists, historians, poets of the five-dimensional identity of the view and insight. His musical comment language is fresh, humorous, witty and so on. In addition, his preference for oral writing (even dialect) and his chic grasp of verbs make his music comments vivid and flexible, and the use of poetic language increases the depth and readability of the text. The fourth chapter focuses on Li Wan's pop music aesthetics. He takes pop music as a work of art seriously, pays close attention to the beauty and truth of pop music, and exalts sincere aesthetics. Also known as "amateur poet" and "amateur music critic", Li's music reviews the relationship between "poetry, ci and song" in pop music. He realized that the text of pop music could not be equated simply with the lyrics of songs, but also contained many complicated musical elements; the difference between lyrics and poems was very significant, but in part rock, the lyrics of folk songs reached the artistic level of poetry and deserved to attract scholars. Poet's attention; poetry, song homologous, then experienced a long separation, finally in the folk music, rock and roll in the two forms of pop music re-integration. What is different from many music critics is that Li Wan always holds the reverence of art and keeps a safe distance from the object of comment, and his writing of music criticism for more than 20 years always carries out the intellectual's sense of mission.
【學(xué)位授予單位】：上海音樂(lè)學(xué)院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：J605

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