本文選題：中國合唱音樂 + 合唱創(chuàng)作思維��； 參考：《中央音樂學(xué)院》2010年博士論文

【摘要】： 中國合唱音樂是20世紀(jì)初“西樂東漸”的結(jié)果,在百年的實(shí)踐發(fā)展中,經(jīng)歷了西方合唱音樂的“本土化”移植和“民族化”的發(fā)展歷程。合唱創(chuàng)作思維作為合唱發(fā)展的源頭,合唱創(chuàng)作的核心,對合唱藝術(shù)的繁榮起著至關(guān)重要的作用。合唱創(chuàng)作思維的更新與社會變革、經(jīng)濟(jì)發(fā)展、社會文化心理結(jié)構(gòu)、行為模式、審美價值取向有著密切的聯(lián)系。本文力圖以合唱創(chuàng)作思維為切入點(diǎn),以音樂史學(xué)、音樂美學(xué)、民族音樂學(xué)、音樂社會學(xué)等學(xué)科理論為依托,結(jié)合合唱作品的本體分析和研究,探索20世紀(jì)中國合唱創(chuàng)作思維“民族化”的發(fā)展軌跡,為推動中國合唱音樂創(chuàng)作的繁榮和發(fā)展盡綿薄之力。 本論文“緒論”之后分述三章,第一章厘清了西方合唱創(chuàng)作思維的發(fā)展脈絡(luò)及其傳入簡況,以及1949年前西方合唱創(chuàng)作思維在中國的植根和“本土化”、“民族化”的歷程。第二章主要論述了戰(zhàn)斗性和抒情性合唱作品“民族化”的繼承與創(chuàng)新,“傳統(tǒng)風(fēng)格合唱作品”“民族化”的繼承創(chuàng)新,以及大型聲樂合唱套曲的繼承創(chuàng)新等三個方面；第三章主要從抒情性、情景交融性合唱作品“民族化”多元拓進(jìn),“傳統(tǒng)風(fēng)格合唱作品”“民族化”多元拓進(jìn),以及大型聲樂合唱套曲多元拓進(jìn)三個方面論述了新時期整體合唱創(chuàng)作思維“民族化”的多元格局；“結(jié)語”部分,首先闡述了20世紀(jì)中國合唱創(chuàng)作思維的發(fā)展軌跡,即：合唱織體從主調(diào)和聲織體拓展到主調(diào)與復(fù)調(diào)相結(jié)合的多聲復(fù)調(diào)合唱織體；人聲運(yùn)用從簡單設(shè)置到多樣融合；體裁運(yùn)用從相對單一到多元并舉；題材從相對單純到多樣并存；主要審美特征從“崇高”“陽剛”到”向“和諧”“陰柔”拓展；“民族化”探求意識從“本土化”移植到“民族化”深化的發(fā)展以及“合唱”的觀念轉(zhuǎn)變等。并對中國21世紀(jì)最初10年中國合唱藝術(shù)呈現(xiàn)出新趨向提出建議和思考,即：建立職業(yè)合唱團(tuán)的建議,和對“原生態(tài)”多聲部民歌挖掘與利用的思考、由合唱比賽引發(fā)的思考、由2009年《“帕倫天奴”第四屆作曲比賽——合唱及藝術(shù)歌曲》引發(fā)的思考、合唱表演新趨向的思考并提出自己的見解。最后在展望21世紀(jì)中國合唱創(chuàng)作思維發(fā)展的趨向時提出：在全球化的文化背景下,“整體開放性思維”是21世紀(jì)中國合唱創(chuàng)作思維發(fā)展的趨向。
[Abstract]:Chinese choral music is the result of the gradual development of "Western Chorus" in the early 20th century. It has experienced the development of "localization" and "nationalization" of western choral music in the past hundred years. As the source of chorus development and the core of chorus creation, choral creative thinking plays a vital role in the prosperity of choral art. The renewal of chorus creative thinking is closely related to social change, economic development, social and cultural psychological structure, behavior pattern and aesthetic value orientation. This paper tries hard to take the choral creation thought as the breakthrough point, with the music history, the music esthetics, the ethnomusicology, the music sociology and so on discipline theory as the support, unifies the chorus work Noumenon analysis and the research, In order to promote the prosperity and development of Chinese choral music creation, this paper explores the development track of "nationalization" of Chinese chorus creation in the 20th century. After the introduction, this thesis is divided into three chapters. The first chapter clarifies the development and introduction of western chorus creative thinking, as well as the roots of western chorus creative thinking in China before 1949 and the process of "localization" and "nationalization". The second chapter mainly discusses the inheritance and innovation of "nationalization" of fighting and lyric choral works, the inheritance and innovation of "traditional style chorus" and "nationalization", and the inheritance and innovation of large-scale vocal choral ensemble. The third chapter is mainly from lyric, emotional and scene blending chorus works "nationalization" pluralistic development, "traditional style chorus" nationalization "pluralistic development, This paper discusses the pluralistic pattern of the "nationalization" of the whole chorus creative thinking in the new period, and the "conclusion" part, firstly expounds the development track of the Chinese chorus creative thinking in the 20th century. Namely: the choral texture extends from the main tone and the sound texture to the multi-tone polyphonic choral texture which combines the main tone and the polyphony; the use of human voice is from simple setting to diverse fusion; the genre application is from relative singularity to multiple simultaneous development; the theme from relative simplicity to diversity coexists; The main aesthetic features are expanded from "sublime" masculinity "to" harmony "and" pubic softness ", and the exploration consciousness of" nationalization "is transplanted from" localization "to" nationalization ", and the concept of" chorus "is changed. The author also puts forward some suggestions and thoughts on the new trend of Chinese chorus art in the first 10 years of the 21st century, that is, the suggestion of establishing professional choir, and the reflection on the excavation and utilization of "original ecology" multi-vocal folk songs, which are caused by the chorus competition. From the thinking of the fourth "Palantanu" composition Competition-Chorus and Art songs in 2009, the author puts forward his own opinions on the new trend of chorus performance. Finally, when looking forward to the trend of the development of Chinese chorus creative thinking in the 21st century, it is pointed out that under the cultural background of globalization, "holistic open thinking" is the trend of the development of Chinese chorus creative thinking in the 21st century.
【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】：2010
【分類號】：J616.2

【引證文獻(xiàn)】

相關(guān)期刊論文 前1條

1 胡騰之;;20世紀(jì)三四十年代上海音樂文化探究[J];大眾文藝;2012年08期

相關(guān)碩士學(xué)位論文 前3條

1 周振宇;中國合唱音樂中的俄羅斯情結(jié)[D];杭州師范大學(xué);2012年

2 董妍;俞紱棠音樂創(chuàng)作研究[D];浙江師范大學(xué);2012年

3 魏勇;新疆伊犁合唱藝術(shù)發(fā)展現(xiàn)狀與分析研究[D];東北師范大學(xué);2012年

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本文編號：1930125