本文選題：歌劇音樂劇史論 + 歌劇音樂劇文學創(chuàng)作理論�。� 參考：《中國音樂》2011年03期

【摘要】：在現(xiàn)行藝術(shù)教育制度和藝術(shù)學學科分類格局下,歌劇音樂劇史論研究及其文學創(chuàng)作理論研究在學科歸屬上遭遇尷尬。其實,歌劇音樂劇劇本文學理論理應(yīng)是音樂學學科群落中一個當之無愧的新成員;在理想狀態(tài)下,它理應(yīng)成為一級學科"藝術(shù)學理論"的第四個二級學科"舞臺綜合藝術(shù)學"項下三級學科"歌劇音樂劇史論及批評"的一個研究方向——"歌劇音樂劇劇本文學研究及批評"。從而令其有一個名正言順的棲息地,為它的健康成長提供一個可以施展拳腳的學術(shù)平臺。
[Abstract]:Under the current system of art education and the classification of art subjects, the study of opera musical history theory and its literary creation theory are confronted with embarrassment. In fact, the theory of opera, musical play and literature should be a well-deserved new member of the musicology community. It is supposed to be a research direction of opera musical history and criticism under the fourth secondary subject of "the theory of art", "stage comprehensive art"-"the study and criticism of opera musical script literature". Thus, it has a proper habitat and provides an academic platform for its healthy growth.
【作者單位】： 南京藝術(shù)學院;
【分類號】：J617.2
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本文編號：2100245