發(fā)布時間：2018-03-26 09:16

  本文選題：臺灣　切入點：新音樂　出處：《中央音樂學(xué)院》2009年博士論文

【摘要】： 很早以來,臺灣就是中國神圣領(lǐng)土的一部分。其獨特的地理位置、復(fù)雜的歷史文化變遷,孕育了豐富多彩的臺灣音樂。1895年中日甲午海戰(zhàn)以后,海峽兩岸長期隔離,我們對臺灣音樂的了解就很少了。因此,關(guān)注和研究臺灣音樂就成了我們音樂工作者的重要課題。再從海峽兩岸目前關(guān)于研究臺灣音樂的成果來看,雖有論著提及1945至1960年代的臺灣音樂,但還未見對1945至1960年的臺灣新音樂進行全面論述的專著。筆者以為,從整個臺灣音樂歷史發(fā)展進程看,1945至1960年是一段特殊的歷史時期。一方面,1945年臺灣恢復(fù)中國主權(quán)后,新音樂文化有了一個新的起點；另一方面,1949年國民政府遷往臺灣,此期的音樂藝術(shù)有著獨特的、區(qū)域性的時代特色和藝術(shù)形式。如果不了解這一時期的音樂文化,那么對臺灣音樂史的認識就是不全面、不系統(tǒng)的。為此,·筆者以“1945至1960年的臺灣新音樂”為研究對象,以大量的文獻資料及音樂人物的口述史為基礎(chǔ),在尊重客觀歷史的前提下,從當時的社會背景出發(fā),以重要的人、事、物為研究主線,運用宏觀與微觀相結(jié)合的研究方法,秉持論從史出的治史原則,對此期新音樂的面貌進行客觀描述,探討其新音樂的特點,并明確這一時段的新音樂在臺灣音樂史上的特殊地位。 全文內(nèi)容有四：一是音樂教育事業(yè)的建設(shè)與發(fā)展(第一章)。從中小學(xué)音樂課程標準、中小學(xué)音樂教材、臺灣省立師范大學(xué)音樂系、政工干部學(xué)校音樂系幾方面入手,對這一時期臺灣的普通音樂教育、專業(yè)音樂教育進行考察和研究；二是文藝機構(gòu)、社會音樂活動及音樂傳媒的發(fā)展(第二章)。先是以臺灣文化協(xié)進會、臺灣省交響樂團、中華文藝獎金委員會、“中國廣播公司”國樂團、“國立音樂研究所”為代表,對此期的文藝機構(gòu)進行考察。其次,從音樂會、全省音樂比賽、軍歌推廣活動以及對外音樂文化交流活動諸方面,對當時的社會音樂活動進行考述。最后以《新選歌謠》、“中國廣播公司”音樂欄目、遠東音樂社為主,對此期音樂傳媒的發(fā)展進行考述；三是音樂家與專業(yè)音樂創(chuàng)作(第三章)。從大陸赴臺音樂家、臺灣本土音樂家兩方面,對此期的作曲家進行重點介紹。同時從音樂體裁切入,對這一時期臺灣的音樂創(chuàng)作情況予以回顧,并對主要作品進行音樂學(xué)分析；四是流行歌曲創(chuàng)作(第四章)。分臺語、國語兩部分,探討當時流行歌曲的題材內(nèi)容與歌詞特點,并對主要作品的音樂特色進行分析。 筆者經(jīng)過深入、系統(tǒng)研究,認為1945至1960年的臺灣,除了豐富的社會音樂生活外,還有不少藝術(shù)性較高的音樂作品,對臺灣民眾的精神生活,提供了寶貴的食糧。更重要的是,它在整個臺灣音樂發(fā)展史上起到了承上啟下的“橋梁”作用,不但摒棄了日本殖民統(tǒng)治時期帶有嚴重殖民色彩的殖民音樂文化,恢復(fù)了中華音樂文化傳統(tǒng),而且對日后臺灣音樂的發(fā)展奠定了堅實基礎(chǔ)。
[Abstract]:Taiwan has long been a part of China's sacred territory. Its unique geographical location and complex historical and cultural changes have given birth to rich and colorful Taiwan music. After the Sino-Japanese War of 1895, the two sides of the Taiwan Strait were separated for a long time. We know very little about Taiwan's music. Therefore, paying attention to and studying Taiwan's music has become an important topic for our music workers. From the current results of research on Taiwan music on both sides of the Taiwan Strait, Although Taiwan music from 1945 to 1960s has been mentioned in some works, there has not been a monograph on Taiwan's new music from 1945 to 1960. From the perspective of the development of Taiwan's music history, 1945 to 1960 is a special historical period. On the one hand, after the restoration of China's sovereignty in 1945, the new music culture had a new starting point; on the other hand, the National Government moved to Taiwan in 1949. This period of music art has unique, regional characteristics and artistic forms. If we do not understand the music culture of this period, then we will not have a comprehensive understanding of Taiwan's music history. For this reason, the author takes "New Taiwan Music from 1945 to 1960" as the object of study, based on a large amount of literature and the oral history of musical figures, on the premise of respecting the objective history and proceeding from the social background at that time. Taking the important people, things and things as the main line of study, using the research method of combining macro and micro, and adhering to the principle of managing history from history, this paper objectively describes the appearance of the new music in this period, and probes into the characteristics of its new music. And the special position of the new music in the history of Taiwan music. There are four parts in the full text: first, the construction and development of music education (Chapter 1). Starting with the music curriculum standards of primary and secondary schools, the music teaching materials of primary and secondary schools, the music department of Taiwan normal University and the music department of political cadres' school, In this period, Taiwan's general music education and professional music education were investigated and studied. Second, the development of literary and artistic institutions, social music activities and music media (Chapter II). First, the Taiwan Cultural Council and the Taiwan Province Symphony Orchestra. The Chinese Literature and Art Award Committee, the "China Broadcasting Corporation" Chinese Orchestra, and the "National Music Research Institute" are the representatives of this period's literary and artistic institutions. Secondly, from concerts to music competitions throughout the province, The promotion of military songs and the exchange of music and culture with foreign countries are studied in the light of the social music activities of that time. Finally, the music column of "China Broadcasting Corporation" and the far East Music Society are the main ones in the "New Choice of Ballads", "China Broadcasting Corporation", and the far East Music Society. The development of this period of music media is studied. Thirdly, musicians and professional music creation (Chapter 3). From the mainland to Taiwan musicians, Taiwan's native musicians, the composer of this issue is mainly introduced. At the same time, from the perspective of music genre, Reviewing the music creation situation in Taiwan during this period, and making musicological analysis on the main works; fourth, the creation of popular songs (chapter four, divided into two parts: Taiwanese and Mandarin), to discuss the content of the subject matter and the characteristics of the lyrics of the popular songs at that time. And the music characteristics of the main works are analyzed. After a thorough and systematic study, the author believes that Taiwan from 1945 to 1960, in addition to its rich social music life, also had many music works of higher artistic quality, which provided valuable food for the spiritual life of the people of Taiwan. More importantly, It has played a bridging role in the history of Taiwan's music development. It has not only abandoned the colonial music culture of the period of Japanese colonial rule, but also restored the tradition of Chinese music culture. It also laid a solid foundation for the development of Taiwanese music in the future.
【學(xué)位授予單位】：中央音樂學(xué)院
【學(xué)位級別】：博士
【學(xué)位授予年份】：2009
【分類號】：J605

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本文編號：1667270