發(fā)布時(shí)間：2018-07-09 13:53

  本文選題：近現(xiàn)代音樂 + 和聲��； 參考：《東北師范大學(xué)》2010年碩士論文

【摘要】： 西方近現(xiàn)代音樂是十九世紀(jì)末至二十世紀(jì)上半葉的近代音樂和二十世紀(jì)下半葉的現(xiàn)代音樂(也稱新音樂時(shí)期)的總稱。西方近現(xiàn)代音樂是工業(yè)革命和科技發(fā)展的社會(huì)文化產(chǎn)物。 改革開放后,我國受西方近現(xiàn)代音樂影響較大。因此,我在本論文中以改革開放到現(xiàn)在的30年為時(shí)間范疇,圍繞“西方近現(xiàn)代音樂的正確立足點(diǎn)是什么?”、“我國音樂文化之路要怎樣走下去?”等問題進(jìn)行論述。 文章內(nèi)容分為三大部分:第一章,西方近現(xiàn)代音樂。筆者在第一章中介紹了西方近現(xiàn)代音樂風(fēng)格的諸多特點(diǎn),并從哲學(xué)、美學(xué)等視角論述了對(duì)近現(xiàn)代和聲技法的看法。第二章,改革開放后我國音樂發(fā)展中的突出現(xiàn)象。這里指的突出現(xiàn)中包含:受西方近現(xiàn)代音樂影響而產(chǎn)生的“新潮音樂”及與其相關(guān)的各種爭辯、各種流行音樂、音樂藝術(shù)商品化現(xiàn)象等。最后,在第三章中進(jìn)一步肯定了古典音樂的藝術(shù)價(jià)值,并對(duì)我國音樂發(fā)展的前景表述了自己的見解。 在資料搜集過程中,我發(fā)現(xiàn)國內(nèi)專家及學(xué)者們對(duì)西方近現(xiàn)代音樂的理解和評(píng)價(jià)均有所不同。有贊同并付諸于實(shí)踐的音樂家,也有持反對(duì)和批評(píng)態(tài)度的音樂學(xué)家和音樂理論家。筆者目前參考和瀏覽的資料中有:專著類約20余部、學(xué)術(shù)論文類約368余篇。另外,關(guān)于報(bào)刊等資料,仍在搜集和整理之中。
[Abstract]:Western modern music is a general term for modern music from the end of the nineteenth century to the first half of the twentieth century and modern music from the second half of the twentieth century (also called the new music period). Western modern music is the social and cultural product of the industrial revolution and the development of science and technology. After the reform and opening up, our country is greatly influenced by western modern music. Therefore, in this paper, I take the 30 years of reform and opening up to the present as the time category, around "what is the correct foothold of western modern music?", "how to go on the road of music culture in our country?" And so on. The content of the article is divided into three parts: the first chapter, western modern music. In the first chapter, the author introduces the characteristics of modern western musical styles, and discusses the views on modern harmony techniques from the perspectives of philosophy and aesthetics. The second chapter, after the reform and opening up, the outstanding phenomenon in the development of music in China. The highlight of this point includes: "trendy music" produced by the influence of modern and modern western music and its related arguments, various pop music, the phenomenon of commercialization of music art, and so on. Finally, in the third chapter, we affirm the artistic value of classical music, and express our own views on the future of music development in China. In the course of collecting data, I found that experts and scholars in China have different understanding and evaluation of modern western music. There are musicians who agree and put into practice, as well as musicologists and music theorists who are opposed and critical. There are more than 20 monographs and 368 academic articles. In addition, information on newspapers and periodicals is still being collected and sorted out.
【學(xué)位授予單位】：東北師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2010
【分類號(hào)】：J605

【引證文獻(xiàn)】

相關(guān)碩士學(xué)位論文 前1條

1 李鋒;民族音樂元素與現(xiàn)代作曲技法的結(jié)合[D];西北師范大學(xué);2012年

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本文編號(hào)：2109577