本文選題：“新潮音樂” + 音樂創(chuàng)作　； 參考：《沈陽音樂學(xué)院》2014年碩士論文

【摘要】：20世紀(jì)“改革開放”以后，隨著國門的打開，西方現(xiàn)代作曲技法也隨之進(jìn)入中國，使得國內(nèi)很多作曲家進(jìn)行創(chuàng)作時(shí)都進(jìn)行借鑒和采納，從而掀起了一股“新潮”流行風(fēng)。而隨著音樂創(chuàng)作的繁榮，，音樂評(píng)論界也開始活躍起來，本文搜集了相關(guān)期刊、著作以及網(wǎng)絡(luò)等刊載的關(guān)于“新潮音樂”的評(píng)論文章，通過文章對(duì)于“新潮音樂”的創(chuàng)作方法、創(chuàng)作題材以及受眾面、與傳統(tǒng)是否碰撞等方面進(jìn)行的評(píng)論總結(jié)出20世紀(jì)80年代后音樂評(píng)論界整體的評(píng)論方法以及評(píng)論水平，進(jìn)而對(duì)此進(jìn)行一定的論述和研究。
[Abstract]:After the "reform and opening up" in the 20th century, with the opening of the country, the western modern composing techniques also came into China, which made many domestic composers use for reference and adopt when they created, thus set off a "new trend" fashion.With the prosperity of music creation, the music critics are also beginning to become active. This paper collects relevant journals, works and network articles on "trendy music", and through the article on "trendy music" writing methods.The comments on the theme of creation and whether they collide with tradition or not sum up the whole comment method and level of music criticism since 1980s, and then discuss and study it to a certain extent.
【學(xué)位授予單位】：沈陽音樂學(xué)院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類號(hào)】：J609.2

【參考文獻(xiàn)】

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本文編號(hào)：1769878