本文選題：陜西　切入點：“秦派民樂”　出處：《上海音樂學(xué)院》2013年博士論文　論文類型：學(xué)位論文

【摘要】：“秦派民樂”是二十世紀(jì)下半葉,也就是新中國成立后,在中國陜西省形成的一種創(chuàng)作現(xiàn)象,它的表現(xiàn)是,有一批民樂演奏家與專業(yè)作曲家投身于民族器樂音樂領(lǐng)域,創(chuàng)作了大量以陜西民間音樂為素材或以陜西風(fēng)格為取向的民族器樂作品。并通過長期積累,逐漸在一些領(lǐng)域形成了民族器樂的地方派別,如“秦派二胡”、“陜西箏派”,在全國產(chǎn)生重要影響。60余年的發(fā)展歷程,使這一地區(qū)的專業(yè)民族器樂創(chuàng)作從無到繁榮,再到“立派”的發(fā)展態(tài)勢,在建國后的中國其它區(qū)域的專業(yè)民族器樂音樂領(lǐng)域中是鮮見的。由此開啟了筆者對它的研究。 對“秦派民樂”筆者采用的是以“區(qū)域音樂文化研究”為理論取向的研究視角。從“區(qū)域”、“時代”、“人”、“音樂作品”這四個獨立又彼此交匯的視野出發(fā),關(guān)注“時代”、“區(qū)域”是如何對“人”與“音樂作品”產(chǎn)生作用的。并將“秦派民樂”的研究放置于中國專業(yè)音樂創(chuàng)作、教育、表演的宏觀背景下來審視,通過“秦派民樂”與國家整體音樂發(fā)展趨勢中的比較,關(guān)注“國家的在場”對其發(fā)展的影響。 本文由緒論、四個章節(jié)、余論、結(jié)語構(gòu)成： 緒論部分主要從研究對象與研究價值、目前此領(lǐng)域的研究狀況與本文的研究空間與理論視角、以及研究策略與方法進(jìn)行了論述與探討。 第一章將聚焦于“建國17年”,與“二十世紀(jì)八十年代后”這兩個對于中國民族器樂音樂發(fā)展最為關(guān)鍵與重要的歷史時期,將“秦派民樂”放置于國家發(fā)展的大歷史背景下來分析、思考它的發(fā)展歷程。 第二章是對二十世紀(jì)八十年代“秦派民樂”運(yùn)作模式的探討。從“秦派民樂”的發(fā)展歷程看,這一階段是“秦派”音樂家群體公認(rèn)的最為輝煌的時期。通過對八十年代的社會環(huán)境、“秦派民樂”中的領(lǐng)軍人物、學(xué)院機(jī)制下的民族器樂發(fā)展模式,這三個方面展開論述。 第三章是對“秦派民樂”的創(chuàng)作與地域文化的關(guān)聯(lián)分析。這章將分析陜西自然地理與其地域文化所孵化的民間音樂品種是如何對當(dāng)代“秦派民樂”的創(chuàng)作產(chǎn)生影響的,并且在陜西如此豐富的民間音樂形態(tài)中其最核心的特質(zhì)是如何在當(dāng)代器樂作品中傳承與延續(xù)的。 第四章將以作品為主線,選取“秦派民樂”中重要的代表作品進(jìn)行細(xì)致的形態(tài)分析,重點關(guān)注在這些作品中所呈現(xiàn)的創(chuàng)作方式與創(chuàng)作觀念蘊(yùn)藏著什么樣的變化因素與不變因素,同時也關(guān)注于創(chuàng)作者的成長環(huán)境、教育背景與其創(chuàng)作風(fēng)格的關(guān)聯(lián)。 余論對“秦派民樂”在進(jìn)入二十世紀(jì)九十年代之后的發(fā)展變化與趨勢進(jìn)行了論述,揭示了后“秦派民樂”時代的來臨。 在結(jié)語中將進(jìn)一步探討對“秦派民樂”的研究意義,以及筆者通過聚焦于一個區(qū)域的專業(yè)民族器樂創(chuàng)作研究,對二十世紀(jì)以來的中國專業(yè)民族器樂創(chuàng)作及其研究有何新的認(rèn)識?
[Abstract]:"Qin folk music" is a kind of creative phenomenon formed in Shaanxi Province of China in the second half of 20th century, that is, after the founding of New China. Its manifestation is that a group of folk musicians and professional composers devoted themselves to the field of national instrumental music. He has created a large number of national instrumental music works with Shaanxi folk music as the material or Shaanxi style as the orientation. Through long-term accumulation, the local schools of national instrumental music have gradually formed in some fields. For example, "Qin School Erhu" and "Shaanxi Zheng School" have had an important influence on the development of the whole country for more than 60 years, so that the professional instrumental music creation in this area has gone from nothing to prosperity, and then to the development trend of "upright school". It is rare in the field of professional national instrumental music in other regions of China after the founding of the people's Republic of China, which opens the author's research on it. The author of "Qin School Folk Music" adopts a theoretical perspective of "the study of Regional Music Culture" from the perspective of "region", "time", "Man" and "Music works", which are independent and intertwined with each other, from the perspective of "region", "time", "Man" and "Music works". Pay attention to "time" and "area" how to influence "people" and "music works". And put the study of "Qin folk music" in the macro background of Chinese professional music creation, education and performance. Through the comparison between "Qin School Folk Music" and the national music development trend, the influence of "the presence of the country" on its development is concerned. This paper is composed of the introduction, four chapters, the remainder, and the conclusion:. The introduction part mainly discusses and discusses the research object and research value, the current research situation in this field and the research space and theoretical perspective of this paper, as well as the research strategy and method. The first chapter will focus on "17 years after the founding of the people's Republic of China" and "after 1980s", the two most critical and important historical periods for the development of Chinese national instrumental music. Put Qin School Folk Music in the historical background of national development to analyze and think about its development course. The second chapter discusses the operation mode of Qin School Folk Music in 1980s. This stage is recognized as the most brilliant period by the group of "Qin School" musicians. This paper discusses the social environment in 80s, the leading figures in the "Qin School Folk Music" and the development model of national instrumental music under the college mechanism. The third chapter is an analysis of the relationship between the creation of "Qin folk music" and the regional culture. This chapter will analyze how Shaanxi's natural geography and the variety of folk music incubated by its regional culture have an impact on the creation of contemporary "Qin folk music". And in Shaanxi so rich folk music form its core characteristic is how to inherit and continue in the contemporary instrumental music works. Chapter 4th will take the works as the main line, select the important representative works in "Qin School Folk Music" to carry on the detailed morphological analysis. This paper focuses on the changing factors and invariant factors of the creative ways and ideas presented in these works, as well as the relationship between the creators' growing environment, the educational background and their creative styles. On the other hand, the author discusses the development, change and trend of "Qin Folk Music" after 1990s, and reveals the coming era of "Qin Folk Music". In the conclusion, I will further explore the significance of the research on "Qin folk music", and the author will focus on a region of professional national instrumental music creation research, What is the new understanding of the creation and research of Chinese professional instrumental music since 20th century?
【學(xué)位授予單位】：上海音樂學(xué)院
【學(xué)位級別】：博士
【學(xué)位授予年份】：2013
【分類號】：J632

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