本文選題：20世紀(jì) + 40年代�。� 參考：《西南師范大學(xué)》2001年碩士論文

【摘要】： 合唱音樂這種形式是20世紀(jì)前后，隨著西方資本主義國(guó)家在政治、經(jīng)濟(jì)、 軍事、文化等各方面大肆入侵中國(guó)而傳入的。清末民初，中國(guó)產(chǎn)生了第一首以西 洋作曲技法創(chuàng)作的中國(guó)合唱音樂作品。自此，中國(guó)合唱音樂創(chuàng)作開始了緩慢的發(fā) 展。中國(guó)合唱音樂的創(chuàng)作是西方復(fù)音音樂文化進(jìn)入中國(guó)、與中國(guó)音樂文化融匯的 開端。到20世紀(jì)30～40年代，由于中國(guó)社會(huì)音樂活動(dòng)的蓬勃興起、中國(guó)專業(yè)音 樂教育的發(fā)展以及時(shí)代精神的召喚，中國(guó)合唱音樂創(chuàng)作進(jìn)入了一個(gè)空前繁榮的新 階段。作品的題材范圍、思想性、藝術(shù)性等都有了一個(gè)質(zhì)的變化。本文考察了“合 唱音樂”這種西方音樂文化形式在中國(guó)的產(chǎn)生與發(fā)展過程，并分析、研究了20 世紀(jì)30～40年代中國(guó)合唱音樂作品的一般性形態(tài)特征。 全文共分兩個(gè)部分。第一部分主要從“中國(guó)合唱音樂的產(chǎn)生”、“中國(guó)合唱音 樂的發(fā)展”以及“合唱音樂創(chuàng)作隊(duì)伍的形成與發(fā)展”三方面考察了合唱音樂這種 西洋音樂形式傳入中國(guó)后，在中國(guó)的發(fā)展歷程；論文的第二部分“20世紀(jì)30～40 年代中國(guó)合唱音樂作品的創(chuàng)作思想”、“作品的題材內(nèi)容”、“作品的音樂特征”三 方面重點(diǎn)分析了20世紀(jì)30～40年代中國(guó)合唱音樂作品的一般形態(tài)特征。該時(shí)期 的合唱音樂作品首先是在風(fēng)起云涌的抗日戰(zhàn)爭(zhēng)中誕生的，其創(chuàng)作的主旨是讓新音 樂“作為爭(zhēng)取大眾解放的武器，表現(xiàn)、反映大眾生活、思想、情感的一種手段， 更擔(dān)負(fù)起喚醒、教育、組織大眾的使命……”（呂驥）。實(shí)際創(chuàng)作中，在“為藝術(shù) 而藝術(shù)”觀點(diǎn)下產(chǎn)生的作品也不乏其例；創(chuàng)作技法方面，“全盤西化”與“取彼 之長(zhǎng)，，補(bǔ)己之短……學(xué)西洋好的音樂方法……產(chǎn)生民族化新音樂”（黃自）的觀 點(diǎn)體現(xiàn)非常明顯。 20世紀(jì)30～40年代的中國(guó)合唱音樂創(chuàng)作實(shí)踐表明：時(shí)代性、思想性與藝術(shù) 性是作品的靈魂，是作品具有生命力的根本保證。作為社會(huì)文化的反映與代表， 優(yōu)秀藝術(shù)作品的另一重要要素是具有鮮明的民族性。
[Abstract]:The form of choral music was introduced in the 20th century with the invasion of China by western capitalist countries in politics, economy, military, culture and so on. In the late Qing Dynasty and early Republic of China, China produced its first Chinese choral music composed by Western foreign composition techniques. Since then, Chinese choral music creation has begun a slow exhibition. The creation of Chinese chorus music is the beginning of western polyphonic music culture entering into China and merging with Chinese music culture. By the 1930s and 1940s, due to the vigorous rise of social music activities in China, the development of professional music education in China and the call of the spirit of the times, Chinese choral music creation entered a new stage of unprecedented prosperity. There has been a qualitative change in the scope of the subject matter, ideological content, artistry, etc. This paper examines the emergence and development of "choral music" in China, and analyzes the general morphological features of Chinese choral music works in the 1930s and 1940s. The full text is divided into two parts. The first part mainly examines the formation and development of choral music, the development of Chinese choral music and the formation and development of choral music team, after the introduction of choral music into China. The second part of the thesis is "the Creative thought of Chinese Chorus Music works in the 1930s and 1940s", "the subject matter of the works", The musical features of works are analyzed in three aspects: the general morphological features of Chinese choral music works in the 1930s and 1940s. The choral music of this period was first born in the surging War of Resistance against Japan. The main purpose of its creation was to make the new music "as a weapon for the liberation of the masses, to express and reflect the life and thought of the masses." A means of emotion, but also assume the mission of arousal, education, and organization of the public. " Lv Ji. In practical creation, the works produced under the viewpoint of "art for the sake of art" are not lack of examples; in terms of creative techniques, "total westernization" and "taking advantage of others" make up for their shortcomings. Learn a good musical method from the West. The point of view of producing nationalized new music (Huang Zi) is very obvious. The practice of Chinese chorus music creation in the 1930s and 1940s shows that the times, thought and art are the soul of the works. It is the fundamental guarantee that works have vitality. As a reflection and representative of social culture, another important element of excellent works of art is its distinct nationality.
【學(xué)位授予單位】：西南師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2001
【分類號(hào)】：J642.53

【引證文獻(xiàn)】

相關(guān)碩士學(xué)位論文 前2條

1 余文博;“新音樂運(yùn)動(dòng)”之研究[D];武漢音樂學(xué)院;2007年

2 趙瓊;民國(guó)時(shí)期的中國(guó)童聲合唱藝術(shù)研究[D];華中師范大學(xué);2013年

本文編號(hào)：1996358