發(fā)布時(shí)間：2018-05-27 21:41

  本文選題：香港音樂 + 香港作曲家��； 參考：《中央音樂學(xué)院》2009年博士論文

【摘要】：香港,這是國人矚目的地方。由于復(fù)雜的政治、歷史原因,在上個(gè)世紀(jì)80年代之前,我們對香港音樂發(fā)展歷史知之甚少,直到改革開放的80年代之后,才逐漸有了一些交流和了解。由于香港的歷史背景和社會(huì)制度的特殊性,造成了音樂的發(fā)展情況與大陸有很大的差異�，F(xiàn)在,這個(gè)地區(qū)已經(jīng)回歸祖國,歷史的段落性已形成。對于她那段歷史事實(shí),需抱有積極態(tài)度掌握材料,用實(shí)事求是的科學(xué)態(tài)度,自然可以放筆直書。 本論文《移居香港的大陸作曲家研究(20世紀(jì)30-80年代)》,“緒論”之后,分述三章,以時(shí)間為序,以史實(shí)為綱,以具體作曲家事件為目,即第一章萌芽期(20世紀(jì)30-40年代);第二章拓展期(20世紀(jì)50-60年代);第三章黃金期(20世紀(jì)70-80年代),最后一部分是本論文的結(jié)語。本論文研究的對象是“移居香港的大陸作曲家”,他們是在20世紀(jì)30年代抗戰(zhàn)爆發(fā)至80年代先后移居香港,按照祖籍或出生地來為其定義的作曲家。論文中“大陸作曲家”的提法涵蓋了——1、在大陸或海外出生,并且在大陸成長和接受專業(yè)音樂教育的作曲家;2、從30年代以來,由大陸移居香港,在英國政府管理下生活、創(chuàng)作的作曲家。本文將半個(gè)多世紀(jì)以來,移居香港的大陸作曲家在香港的音樂活動(dòng),進(jìn)行了篳路藍(lán)縷般地分段、分類闡述,對他們在香港的音樂歷史上的影響進(jìn)行了總結(jié)與評價(jià)。 本文研究將立足于音樂學(xué)方法,即運(yùn)用音樂史學(xué)、音樂美學(xué)、音樂社會(huì)學(xué)、民族音樂學(xué)等分學(xué)科的諸種方法。特別是由于香港的特殊政情關(guān)系,以及中國土地、英國統(tǒng)治、廣東居民——構(gòu)成了香港音樂的多文化、跨文化特點(diǎn)。因此在對其音樂文化進(jìn)行研究時(shí),會(huì)特別結(jié)合音樂社會(huì)學(xué)的研究方法和手段,即研究社會(huì)群體的地理環(huán)境、人口的分布、數(shù)量及密度、人們之間的交往情況等,物質(zhì)類社會(huì)形態(tài)方面的社會(huì)事實(shí);研究宗教、習(xí)俗、時(shí)尚、輿論、公共情感等制度性和非制度性文化等方面的非物質(zhì)類社會(huì)事實(shí)對香港音樂發(fā)展的影響。 深入研究大陸作曲家在香港的專業(yè)音樂成就和貢獻(xiàn),在當(dāng)?shù)氐奈幕矸菡J(rèn)同,以及對香港當(dāng)下音樂現(xiàn)狀的評價(jià)及前景的展望等等,不僅有助于推動(dòng)香港音樂整體的全面研究,而且可以填補(bǔ)香港音樂史研究方面的不足,從而促進(jìn)“中國音樂史”的研究工作全面深入。
[Abstract]:Hong Kong, this is the national attention. Due to complicated political and historical reasons, before the 1980s, we knew very little about the history of music development in Hong Kong. It was not until the 1980s that we began to have some exchanges and understanding. Due to the particularity of Hong Kong's historical background and social system, the development of music is quite different from that of mainland China. Now that the region has returned to the motherland, the passage of history has been formed. For her historical facts, must have a positive attitude to grasp the material, with a practical and scientific attitude, can naturally keep a straight book. "the study of mainland Composers who emigrated to Hong Kong in the 30-80 's of the 20th Century". After "introduction", it is divided into three chapters, with time as the order, historical facts as the outline, and concrete composer events as the object. The first chapter is the budding period of the 20th century, the second chapter is the extension period of the 20th century 50-60 's, the third chapter is the golden period of the 20th century 70-80 's, the last part is the conclusion of this paper. The object of this thesis is "mainland composers who emigrate to Hong Kong". They are composers who emigrated to Hong Kong in the 1930s to 1980s, according to their ancestral or birthplace. The reference to "mainland composers" in the paper covers the expression "mainland composers" 1.Composers born in the mainland or abroad, and who grew up and received professional music education in the mainland, have since the 1930s moved from the mainland to Hong Kong to live under the British government. A composer who creates. In this paper, the music activities of the mainland composers who emigrated to Hong Kong for more than half a century have been painstakingly divided, classified and expounded, and their influence in the music history of Hong Kong has been summarized and evaluated. This study will be based on the methods of musicology, that is, using the methods of music history, music aesthetics, music sociology and ethnomusicology. Especially due to the special political situation of Hong Kong, as well as the Chinese land, British rule, Guangdong residents-constitute the multi-cultural, cross-cultural characteristics of Hong Kong music. Therefore, in the study of its music culture, it will especially combine the research methods and means of music sociology, that is, to study the geographical environment of social groups, the distribution of population, the number and density, the communication among people, etc. This paper studies the influence of the social facts of material social formation, such as religion, custom, fashion, public opinion, public emotion and so on, on the development of Hong Kong music. An in-depth study of the achievements and contributions of mainland composers in Hong Kong's professional music, their cultural identity in Hong Kong, their assessment of the current music situation in Hong Kong and their prospects, etc., will not only help to promote a comprehensive study of Hong Kong's music as a whole, Moreover, it can fill in the deficiency of Hong Kong music history research and promote the research of Chinese music history.
【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】：J609.2

【引證文獻(xiàn)】

相關(guān)期刊論文 前1條

1 諸煒;;盛開在寶島的杜鵑花——記作曲家黃友棣先生[J];音樂創(chuàng)作;2011年06期

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本文編號：1943872