本文選題：青主 + 美學(xué)思想��； 參考：《河南師范大學(xué)》2011年碩士論文

【摘要】：青主(1893—1959),原名廖尚果,又名黎青、黎青主,是我國近現(xiàn)代音樂史上一位極為重要的作曲家、音樂理論家。他以其獨(dú)特的音樂美學(xué)思想及其藝術(shù)歌曲創(chuàng)作,被稱為我國近、現(xiàn)代音樂史上一位卓有成就的音樂美學(xué)家和音樂教育家,是我國藝術(shù)歌曲專業(yè)化創(chuàng)作的先驅(qū)人物之一。 青主的創(chuàng)作主要集中于20世紀(jì)30年代,他一生共創(chuàng)作聲樂作品32首,以藝術(shù)歌曲創(chuàng)作為主,并且大多具有很高的藝術(shù)價值和欣賞水準(zhǔn)。最有代表性和研究價值的是《大江東去》和《我住長江頭》兩首藝術(shù)歌曲, 作為我國20世紀(jì)上半葉音樂美學(xué)的開拓者,他的音樂生涯只有四年,雖然很短,但是他卻是一個多產(chǎn)的作家,曾發(fā)表70余篇音樂文論,除了介紹歐洲的一些先進(jìn)音樂思想外,更重要的是他曾發(fā)表了大量關(guān)于音樂美學(xué)的音樂文論以及兩部代表他音樂美學(xué)觀點(diǎn)的理論著作《樂話》和《音樂通論》,這些著作是我國近現(xiàn)代音樂史上最早較多而又集中探討音樂美學(xué)問題的一批著作。 本文通過對青主本人以及對青主音樂美學(xué)思想、藝術(shù)歌曲的分析與研究,對前人的研究進(jìn)行了再思考,在理論上得到了以下見解: (1)對于青主美學(xué)思想中的第一個核心命題“音樂是上界的語言”進(jìn)行了深入的分析解釋,指出音樂的本質(zhì),音樂的特殊性和音樂的功能意義的真正內(nèi)涵所在,從而得出音樂的本質(zhì)就是音樂是靈魂的藝術(shù),音樂具有主觀能動性,它是表達(dá)人類感情的藝術(shù);就音樂的特殊性而言,它是一種不同于繪畫和詩歌的聲音的藝術(shù),具有“非占有空間位置”的最高的藝術(shù)形式的屬性,而就其功能意義而言,音樂是一種獨(dú)立的藝術(shù),音樂中音樂的藝術(shù)性應(yīng)該占主導(dǎo)地位,而不應(yīng)受到禮的附庸,成為道的工具。 (2)對于青主美學(xué)思想中的第二個核心命題“向西方乞靈”學(xué)說,有人曾認(rèn)為它是青主全盤西化學(xué)說的有力說辭,本文以辯證唯物主義一分為二的分析原則來加以分析,由此得出:青主在這一命題上有其真知灼見也有其見解的局限性,真知灼見是:他明確肯定了音樂的民族色彩與民族特性,并將音樂的世界性放在民族性之上,在中國音樂的發(fā)展的道路上,青主提出了“向西方乞靈”,但向西方乞靈首要者不是利用西方的方法與技巧,而是重在引進(jìn)西方先進(jìn)的思想理念,這些見解無論是對于當(dāng)時“五四”新文化的大背景還是對于今天的現(xiàn)代社會,都是有很深的啟迪意義的,而其局限性是:他在論述國樂和西樂的問題上,過分強(qiáng)調(diào)了西方音樂的價值,沒有深入思考中國傳統(tǒng)音樂文化的博大精深之處;甚至僅僅以單音和復(fù)音的分別來確定中西音樂之優(yōu)劣,從而造成了他理論上對于民族文化的片面與偏激等。 (3)通過對其藝術(shù)歌曲代表作《大江東去》和《我住長江頭》兩首藝術(shù)歌曲美學(xué)特征的分析,我們發(fā)現(xiàn),青主藝術(shù)歌曲的美學(xué)價值:一方面體現(xiàn)了青主學(xué)習(xí)歐美作曲技術(shù),走發(fā)展民族音樂道路的思想;另一方面,青主藝術(shù)歌曲中具有的“詩化”意蘊(yùn)和典雅氣質(zhì)等獨(dú)特的美學(xué)特征,是中國傳統(tǒng)文化的深刻體現(xiàn)。 綜上所述,本文以青主的美學(xué)思想和其藝術(shù)歌曲的美學(xué)特征為切入點(diǎn),分析了其藝術(shù)歌曲體現(xiàn)出來的美學(xué)價值和風(fēng)格特征,闡述了青主藝術(shù)歌曲和其美學(xué)思想在近現(xiàn)代音樂史上的開創(chuàng)意義和對我國藝術(shù)歌曲創(chuàng)作產(chǎn)生的深遠(yuǎn)影響。
[Abstract]:The young owner (1893 - 1959), the original name Liao Shangguo, also named Li Qing and Li Qing, is a very important composer in the history of modern music in our country. The music theorist, with his unique musical aesthetic thought and its artistic songs, is called a musical aesthetician and a music educator who is an outstanding achievement in the history of modern music and is our country. One of the pioneers of the professional creation of art songs.
His creation was mainly concentrated in 1930s. He created 32 vocal music works in his life, mainly composed of art songs, and most of them have high artistic value and appreciation level. The most representative and research value are "Jiangdong" and "I live in the Yangtze River" with two art songs.
As a pioneer of music aesthetics in the first half of twentieth Century, his musical career was only four years, although he was very short, but he was a prolific writer. He had published more than 70 musical literary theories. In addition to introducing some advanced European musical ideas, he had published a large number of musical essays on music aesthetics and two generations. The theoretical works of his musical aesthetic views, "Yue Hua >" and "general theory of music", are one of the earliest books in the history of modern music in our country and focused on the problems of music aesthetics.
Through the analysis and study of the Qing Lord himself and the aesthetic thought of the music of the Qing Dynasty and the art song, this paper rethinks the previous research, and obtains the following views in theory.
(1) the first core proposition, "music is the language of the upper boundary", is deeply analyzed and explained. It points out the essence of music, the particularity of music and the real connotation of the function meaning of music, thus the essence of music is that music is the art of the soul, the music has the subjective initiative, it is the expression. The art of human feelings; as far as the particularity of music is concerned, it is a kind of art that is different from the sound of painting and poetry. It has the highest artistic form of "non occupied space position", and as far as its functional significance is concerned, music is an independent art. The artistic nature of music in the music should take the lead, and should not be courtesy. The vassal is the tool of the Tao.
(2) for the second core propositions of the aesthetic thought of the Qing Dynasty, "begging to the west" theory, it was thought that it was a powerful speech of the whole theory of Westernization of the Qing Lord. He clearly affirmed the national color and national characteristics of music, and put the world on the national character. On the road of Chinese music development, the Qing Lord put forward "begging to the west", but the first person to the Western begging is not the use of Western methods and techniques, but the introduction of western advanced ideas, These views are very enlightening to the great background of the "54" new culture at that time or to the modern society of the day, but the limitation is that he overemphasized the value of western music on the issue of discussing national music and western music, and did not deeply think about the profound and profound aspects of Chinese traditional music culture. To determine the merits and demerits of Chinese and western music only by the difference between monosyllabic and polysyllabic music, thus resulting in the one-sided and extreme theoretical and cultural aspects of Chinese culture.
(3) through the analysis of the aesthetic characteristics of the two artistic songs of the "great river east" and "I live in the head of the Yangtze River", we find that the aesthetic value of the art song of the Qing Dynasty: on the one hand, it embodies the ideas of the young masters in learning the European and American composing techniques and the development of the road of national music; on the other hand, the "poetic" of the art songs of the Qing Dynasty. The unique aesthetic features such as implication and elegant temperament are the profound embodiment of Chinese traditional culture.
To sum up, this article, based on the aesthetic thought of the Qing Dynasty and the aesthetic features of his art songs, analyzes the aesthetic value and style of his art songs, and expounds the pioneering significance of the Qing Dynasty art song and his aesthetic thought in the history of modern music and the profound influence on the creation of Chinese art songs.

【學(xué)位授予單位】：河南師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2011
【分類號】：J605

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