本文選題：中國　切入點(diǎn)：合唱音樂　出處：《中國藝術(shù)研究院》2006年碩士論文

【摘要】：我國的合唱音樂最早由西方傳入,經(jīng)過擁有五千年文明史的博大中華文化的熏陶和感染以及近百年來中華民族所進(jìn)行的反帝反封建革命斗爭的洗禮,已經(jīng)深深地烙上了時(shí)代政治的痕跡�！拔逅倪\(yùn)動(dòng)”對(duì)于推動(dòng)我國合唱音樂的發(fā)展具有重要的劃時(shí)代意義,正是從這一時(shí)期開始,我國合唱音樂的發(fā)展進(jìn)程具有了極其鮮明的政治性,始終與國家的前途命運(yùn)以及社會(huì)的文明進(jìn)步緊緊地聯(lián)系在一起。抗戰(zhàn)時(shí)期是我國合唱音樂逐步走向成熟的重要階段,國家和民族的生死危亡,使得合唱音樂從形式到內(nèi)容都發(fā)生了根本性的變化,澎湃慷慨的激情替代了田園牧歌式的詠唱,成為當(dāng)時(shí)喚醒民眾、鼓舞士氣、抗擊外敵入侵的精神號(hào)角。建國初期百業(yè)待興,我國合唱音樂得到了極大的發(fā)展,成為最受廣大人民喜愛的藝術(shù)表現(xiàn)形式。這一時(shí)期的合唱音樂,無論是在內(nèi)容和題材上還是在表現(xiàn)形式和創(chuàng)作技法上,較之過去都有很大的變化和創(chuàng)新。“文革”十年,是我國合唱音樂發(fā)展的桎梏時(shí)期,受當(dāng)時(shí)政治因素的影響,合唱音樂淪為突出政治主題的一個(gè)載體。改革開放以后,隨著我國社會(huì)經(jīng)濟(jì)、文化和思想領(lǐng)域的逐步開放以及對(duì)外交流的不斷擴(kuò)大,我國合唱音樂真正進(jìn)入了穩(wěn)定的繁榮發(fā)展期,不僅在表現(xiàn)形式和內(nèi)容上呈現(xiàn)出了“百花齊放”,而且還建立了相對(duì)完整的理論研究體系和專業(yè)人才的培養(yǎng)體系。 本文由正文和結(jié)語兩部分組成。正文共分為三章:第一章簡要回顧了19世紀(jì)末歐洲合唱音樂的傳入,以及20世紀(jì)上半葉我國合唱音樂經(jīng)過歷史磨難不斷成長發(fā)展的過程;第二章主要介紹了1949-1976年間我國合唱音樂快速發(fā)展走向成熟的基本概況;第三章著重從題材、形式、理論研究以及專業(yè)培養(yǎng)等方面,多緯度評(píng)述改革開放以后的我國合唱音樂逐步走向繁榮的發(fā)展歷程。結(jié)語部分則闡述了我國合唱音樂發(fā)展的特點(diǎn)以及作者對(duì)合唱音樂的思考。
[Abstract]:The chorus music of our country was first introduced from the West, after the edification and infection of the broad Chinese culture with a history of 5,000 years of civilization, and the baptism of the anti-imperialist and anti-feudal revolutionary struggle carried out by the Chinese nation in the last hundred years.Has been deeply branded with the traces of the politics of the times.The May 4th Movement is of great epoch-making significance for promoting the development of Chinese chorus music. It is from this period that the development process of Chinese choral music has become extremely political.It has always been closely linked with the future and destiny of the country and the civilization and progress of the society.During the War of Resistance against Japan, the chorus music of our country gradually moved toward the mature important stage. The death and death of the country and the nation made the chorus music change fundamentally from the form to the content, and the surging and generous passion replaced the pastoral singing.At that time to awaken the public, morale, the fight against foreign invasion of the spiritual horn.In the early days of the founding of the people's Republic of China, Chorus music was greatly developed and became the most popular form of artistic expression.Chorus music in this period, whether in content and subject matter, in the form of expression and creative techniques, compared with the past has a great change and innovation.The "Cultural Revolution" decade was the shackle period of the development of Chinese chorus music. Influenced by the political factors at that time, choral music became a carrier of prominent political themes.After the reform and opening up, with the gradual opening up of our social economy, culture and ideological fields and the continuous expansion of foreign exchanges, Chinese chorus music has really entered a period of steady prosperity and development.It not only presents "a hundred flowers blossom" in the form and content, but also establishes a relatively complete theoretical research system and a training system for professional talents.This paper consists of two parts: the text and the conclusion.The text is divided into three chapters: the first chapter briefly reviews the introduction of European choral music at the end of the 19th century and the development of Chinese choral music through historical hardships in the first half of the 20th century;The second chapter mainly introduces the basic situation of the rapid development of Chinese chorus music from 1949 to 1976, the third chapter focuses on the subject matter, form, theoretical research and professional training, etc.Comments on the development of Chinese chorus music after reform and opening to the outside world.The conclusion describes the characteristics of the development of Chinese choral music and the author's thoughts on choral music.
【學(xué)位授予單位】：中國藝術(shù)研究院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2006
【分類號(hào)】：J609.2

【引證文獻(xiàn)】

相關(guān)期刊論文 前2條

1 蔣苓;;淺談合唱藝術(shù)的社會(huì)功能[J];小演奏家;2010年12期

2 魯林;;淺析合唱藝術(shù)的社會(huì)功能[J];云南農(nóng)業(yè)大學(xué)學(xué)報(bào)(社會(huì)科學(xué)版);2008年02期

相關(guān)碩士學(xué)位論文 前8條

1 王玉威;西北地區(qū)合唱藝術(shù)發(fā)展探究[D];陜西師范大學(xué);2011年

2 韓婧;改革開放前后我國合唱藝術(shù)的發(fā)展研究[D];河南師范大學(xué);2011年

3 費(fèi)婭;瞿希賢幾首民歌改編無伴奏合唱曲探究[D];西南大學(xué);2012年

4 余文博;“新音樂運(yùn)動(dòng)”之研究[D];武漢音樂學(xué)院;2007年

5 范鎮(zhèn);新疆風(fēng)格合唱作品音樂分析及演唱研究[D];新疆師范大學(xué);2008年

6 殷志華;陸在易四首大型合唱作品研究[D];西北師范大學(xué);2009年

7 曾依依;瞿希賢合唱作品的分析與藝術(shù)處理[D];湖南師范大學(xué);2010年

8 陳述知;沈亞威歌曲創(chuàng)作研究[D];南京藝術(shù)學(xué)院;2010年

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本文編號(hào)：1715580