本文選題：20世紀(jì)中國笛樂發(fā)展 + 笛家��； 參考：《中國藝術(shù)研究院》2010年博士論文

【摘要】： 緒論是對本文研究對象的取域：從型制上劃定研究范圍,就歷史沿革來厘清樂器起源、類屬等問題；對20世紀(jì)前人已有的研究成果進(jìn)行綜述。 前四章陳述20世紀(jì)中國笛樂發(fā)展。第一章記述20世紀(jì)初期笛子在各地民間音樂中擔(dān)當(dāng)?shù)谋戎夭煌巧�。長期以來,大多數(shù)演奏者,或是自娛自樂,或是在樂隊(duì)中身兼數(shù)職,皆因其草根本色而分散于各地未被載入史冊。自“新音樂”在中國萌發(fā),笛子也加入弄波風(fēng)潮,逐漸成為舞臺藝術(shù)的一員。 第二章探討1953-1965年的情況。1953年馮子存參加“全國音樂舞蹈會(huì)演”,成為笛樂舞臺獨(dú)奏先鋒,笛樂也因此在表演形式、表演者社會(huì)地位、創(chuàng)作模式等方面脫胎換骨,產(chǎn)生一批以民間音樂為依托的作品與表演者。1956年“全國音樂周”笛曲《早晨》問世,象征著南北笛樂分馳并存在同一首樂曲中,地域風(fēng)格界線逐漸消弭。緊隨而起的大量笛曲與專業(yè)演奏者,受音樂院校教育影響,在演奏與創(chuàng)作上逐漸脫離了與地方風(fēng)格緊密聯(lián)系狀態(tài),融入作曲意識。為滿足不同類型樂曲的演奏需求,樂器改良成為此時(shí)期的熱點(diǎn)。此階段笛樂朝“專業(yè)化”、“科學(xué)化”、“系統(tǒng)化”方向發(fā)展。不容忽視的是,“國家在場”意識的與19世紀(jì)以來的“西樂東漸”,對時(shí)代觀念、行為,皆有強(qiáng)大的主導(dǎo)作用。 第三章著重于對文化大革命時(shí)期笛樂的探討,時(shí)間從1966-1976年。吹奏朗朗上口的紅色歌曲,向樣板戲?qū)W習(xí),使得笛曲越練越具備“歌樂化”、“聲腔化”的特質(zhì)。 第四章論述1976年至20世紀(jì)末的發(fā)展情形。1977年恢復(fù)高考,音樂院�；謴�(fù)招生,“改革開放”浪潮使得笛樂從“一”走向多元化。1982年,文化部舉辦的“全國器樂觀摩演出”,使得新一代笛子演奏者嶄露頭角。在作曲家筆下,有別于傳統(tǒng)音樂的作曲語匯,為笛樂創(chuàng)造了新的意象空間；女性演奏者的出現(xiàn),不再囿于傳統(tǒng)的社會(huì)身分與形象,大膽參與到消費(fèi)文化中；海峽兩岸笛樂文化交流使彼此資訊相互容受,臺灣笛界舉辦國際性笛子協(xié)奏大賽,塑造新的時(shí)代經(jīng)典,對大陸笛樂經(jīng)典進(jìn)行了一系列再塑造、再定位。 結(jié)語是對全文的總結(jié),經(jīng)由對過往發(fā)展的歸納,希冀提供未來發(fā)展的經(jīng)驗(yàn)與方向。
[Abstract]:The introduction is to draw the domain of the research object of this paper: delimit the research scope from the system of type, clarify the origin of the musical instrument and the category of the musical instrument in the historical evolution, and summarize the existing research achievements of the people before the 20th century. The first four chapters describe the development of Chinese flute music in the 20 th century. The first chapter describes the different roles played by flute in folk music in the early 20 th century. For a long time, most performers, either entertaining themselves, or performing multiple roles in a band, have been scattered throughout history because of their roots. Since the "New Music" germinated in China, flute also joined the wave tide, gradually become a member of stage art. The second chapter discusses the situation from 1953 to 1965. In 1953, Feng Zicun participated in the National Music and Dance Concert, and became a pioneer of the flute stage soloist. As a result, the flute music was transformed in the form of performance, the social status of the performer, the creative model, and so on. A number of folk music based works and performers. 1956 "National Music week" flute music "morning" came out, symbolizing the north and south flute music split and exist in the same music, the regional style boundaries gradually eliminated. A large number of flute and professional performers, influenced by music college education, gradually separated from the close relationship with the local style in performance and creation, and integrated into the composition consciousness. In order to meet the needs of different types of music, musical instrument improvement has become a hot spot in this period. In this stage, the direction of "specialization", "scientization" and "systematization" developed. What can not be ignored is that the consciousness of "state presence" and the "evolution of the west and the east" since the 19th century have played a strong leading role in the concept and behavior of the times. The third chapter focuses on the discussion of flute music during the Cultural Revolution, from 1966 to 1976. Playing a long red song, learning from the model opera, making the flute more and more with the characteristics of "song and music", "voice". The fourth chapter discusses the development from 1976 to the end of the 20th century. The college entrance examination was resumed in 1977, and the enrollment of music colleges was resumed. The wave of "reform and opening up" made the flute music follow "one" to diversify. In 1982, the Ministry of Culture organized the "National instrumental Music viewing performance". To make a new generation of flute players stand out. In the composer's works, different from the traditional music, it creates a new image space for flute music, the appearance of female players is no longer confined to the traditional social status and image, and they participate in the consumption culture boldly. The exchange of flute and music culture between the two sides of the Taiwan Strait makes each other feel each other's information. Taiwan flute circles hold an international flute association competition to create a new era of classics and remodel and reposition the mainland flute music classics. The conclusion is a summary of the full text, through the induction of the past development, hope to provide the future development experience and direction.
【學(xué)位授予單位】：中國藝術(shù)研究院
【學(xué)位級別】：博士
【學(xué)位授予年份】：2010
【分類號】：J632.11

【引證文獻(xiàn)】

相關(guān)期刊論文 前2條

1 孫娟;;陳田鶴及其鋼琴音樂創(chuàng)作[J];音樂藝術(shù)(上海音樂學(xué)院學(xué)報(bào));2011年03期

2 郭樹薈;;轉(zhuǎn)型期的中國器樂專業(yè)音樂與當(dāng)代社會(huì)發(fā)展現(xiàn)象分析[J];音樂藝術(shù)(上海音樂學(xué)院學(xué)報(bào));2011年03期

相關(guān)碩士學(xué)位論文 前3條

1 姜玲;劉寬忍笛塤演奏藝術(shù)研究[D];陜西師范大學(xué);2012年

2 沈興;轉(zhuǎn)型期的傳統(tǒng)笛樂創(chuàng)作實(shí)踐研究[D];上海音樂學(xué)院;2012年

3 孔德杰;劉管樂笛子藝術(shù)研究[D];上海音樂學(xué)院;2012年

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本文編號：1939130