本文選題：音樂(lè) + 傳播　； 參考：《人民音樂(lè)》2013年02期

【摘要】：正一、音樂(lè)傳播"場(chǎng)域"說(shuō)與當(dāng)代原創(chuàng)音樂(lè)劇的碰撞從上世紀(jì)大上海時(shí)期的黎錦暉兒童歌舞劇算起,華語(yǔ)音樂(lè)劇已經(jīng)走過(guò)了近百年的發(fā)展歷程,時(shí)至今日,隨著傳播"場(chǎng)域"的遷移,音樂(lè)劇這種起源于歐洲、振興于美利堅(jiān)民族的綜合藝術(shù)樣態(tài),在當(dāng)代中國(guó)文化語(yǔ)域中也經(jīng)歷著藝術(shù)、文化、經(jīng)濟(jì)等方面的多元化演進(jìn)。因此,從音樂(lè)傳播"場(chǎng)域"視角出發(fā),對(duì)當(dāng)代原創(chuàng)音樂(lè)劇身處的多重"場(chǎng)效應(yīng)"進(jìn)行解讀,不僅可以為當(dāng)代原創(chuàng)音樂(lè)劇的創(chuàng)作實(shí)踐提供宏觀理論借鑒,也能夠推
[Abstract]:First, the collision between the "field" theory of music dissemination and the contemporary original musical since Li Jinhui's Children's Song and Dance Drama of the Great Shanghai period of the last century, Chinese musicals have gone through nearly a hundred years of development. To this day, With the transfer of "field", musical originated in Europe, reinvigorated in the comprehensive artistic model of the American nation, and also experienced the diversified evolution of art, culture and economy in the contemporary Chinese cultural register. Therefore, from the perspective of "field" of music dissemination, the interpretation of the multiple "field effects" of contemporary original musicals can not only provide macroscopic theoretical reference for the creative practice of contemporary original musicals, but also promote them.
【作者單位】： 南京師范大學(xué)泰州學(xué)院音樂(lè)學(xué)院;
【分類(lèi)號(hào)】：J823;J617.2
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本文編號(hào)：1976587