雅俗之路——琴箏音樂文化差異論
發(fā)布時間：2018-08-07 15:56
【摘要】：中國音樂的雅俗分野早在兩千年前即有之,如春秋戰(zhàn)國時期的“雅樂、鄭聲”,和楚國都城的“陽春白雪”與“下里巴人”之論,直到清代戲曲音樂的“雅部、花部”之別。但這些多是從聲樂層面進行的劃分,而將民族樂器特別是同類形制的樂器從雅俗角度進行區(qū)別和論述,則至今在中國音樂學術(shù)界尚未開始。 對中國樂器作雅俗屬性特征的研究,既可以將比較抽象的雅俗概念落實到具體樂器形態(tài)上,從而更加直接的理解雅俗音樂的表現(xiàn)形態(tài)和形成原因;同時,又可以將具體的器樂藝術(shù)提升到雅俗的理論高度加以總結(jié)和認識,對于具體器樂藝術(shù)的自身特征及其發(fā)展道路可以獲得一個較為宏觀的理性的認識。因此,從具體樂器角度來考察其雅俗特征及內(nèi)涵,不僅有助于認識中國音樂與文化的關(guān)聯(lián)性,而且對民族器樂藝術(shù)的發(fā)展道路以及對雅俗文化的加深理解,都有一定的理論和實踐意義。 本文將琴箏音樂作雅俗的定性和比較研究,旨在較全面研究琴箏音樂及其文化內(nèi)涵的差異性,由此更理性地把握琴箏音樂的自身特征,并且更加深入地理解雅俗音樂文化的內(nèi)涵。 全文先分四章從形制、曲目及文獻積累的歷史演進情況、運用主體與場合、音樂審美特征以及流派風格特征等角度作多側(cè)面的比較研究,以此論證琴箏音樂雅俗分野的客觀存在,并論述了這些差異的背景成因。接著用專章進一步考察琴箏音樂的差異性所體現(xiàn)的雅俗文化內(nèi)涵,從雅俗文化的高度作思考并得出了一些新認識:雅與俗是一個相當普遍的文化現(xiàn)象,它不但體現(xiàn)于中國的聲樂體裁或其它大型音樂形式,也體現(xiàn)于具體的器樂甚至兩件同類樂器之中;雅俗音樂文化各有價值,互有長短,各有其受眾,不能非此揚彼。琴樂所走的是雅文化道路:比較強調(diào)固守傳統(tǒng)本色,偏愛表現(xiàn)深遠、含蓄、內(nèi)斂、穩(wěn)重等審美情趣,更適應(yīng)上層社會人士的審美趣味;箏樂所走的是俗文化道路:更強調(diào)變化及與時俱進,偏愛表現(xiàn)明快、靈動、華麗、活潑等審美情趣,更適應(yīng)廣大群眾的審美趣味。當代民族器樂的新發(fā)展,應(yīng)該在關(guān)照具體樂器自身特征和文化內(nèi)涵的基礎(chǔ)上進行,才能收到好的效果。 琴箏音樂雅俗之路的比較研究,可使我們更清楚地認識兩件樂器的藝術(shù)特色和功能,使有關(guān)創(chuàng)作、欣賞和研究工作發(fā)揮出更好的效應(yīng),推動這兩件古老而常新的樂器在當代的發(fā)展。
[Abstract]:The distinction between elegance and vulgarity of Chinese music existed as early as 2000 years ago, such as "Yale, Zheng Sheng" in the Spring and Autumn and warring States period, and "Yang Chunbai Xue" and "Xialiba people" in the capital of Chu, until the distinction of "elegant part, flower department" of opera music in Qing Dynasty. However, most of them are classified from the level of vocal music, and the distinction and exposition of national musical instruments, especially similar musical instruments, from the angle of elegance and vulgarity, has not yet begun in the Chinese music academic circles. The study on the characteristics of Chinese musical instruments' elegant and vulgar attributes can not only put the abstract concept of elegance and vulgarity into concrete musical instrument forms, but also more directly understand the expressive form and formation reasons of elegant and vulgar music; at the same time, We can also promote the specific instrumental music art to the theoretical height of elegance and vulgarity to sum up and understand the characteristics of the specific instrumental music art and its development path can obtain a more macroscopic rational understanding. Therefore, it is helpful not only to understand the relationship between Chinese music and culture, but also to develop the art of national instrumental music and to deepen the understanding of the refined and vulgar culture by examining its characteristics and connotations from the point of view of specific musical instruments. All have certain theoretical and practical significance. In this paper, the author makes a qualitative and comparative study of Qin Zheng music as elegance and customs, in order to study the differences of Qin Zheng music and its cultural connotations in an all-round way, so as to grasp the characteristics of Qin Zheng music more rationally. And understand more deeply the connotation of elegant and vulgar music culture. The full text is divided into four chapters first from the shape, track and literature accumulation of historical evolution, using the subject and occasion, music aesthetic characteristics and genre style characteristics to make a multi-sided comparative study. In this paper, the objective existence of the distinction between musical elegance and vulgarity of Qin Zheng is demonstrated, and the background causes of these differences are discussed. Then it makes a further study of the connotation of elegant and vulgar culture embodied in the difference of Qin Zheng's music with a special chapter. From the height of elegant and vulgar culture, it gives some new ideas: elegance and vulgarity are quite a common cultural phenomenon. It is not only embodied in Chinese vocal music genre or other large-scale music forms, but also in specific instrumental music or even two similar instruments. Piano music takes the road of elegant culture: it emphasizes sticking to the traditional nature, favoring profound, implicit, introverted, stable and other aesthetic tastes, more suitable for the aesthetic taste of the upper social personage; Zheng music takes the path of vulgar culture: more emphasis on change and advance with the times, prefer to express bright, smart, gorgeous, lively and other aesthetic interests, more suitable for the masses of aesthetic taste. The new development of contemporary national instrumental music should be based on the consideration of its own characteristics and cultural connotations in order to achieve good results. The comparative study of the road of musical elegance and vulgarity of Qin Zheng music can help us to understand more clearly the artistic characteristics and functions of the two musical instruments, and make the work of creation, appreciation and research play a better role. To promote the development of these two old and often new instruments in the contemporary era.
【學位授予單位】：南京師范大學
【學位級別】：碩士
【學位授予年份】：2005
【分類號】：J632.3
本文編號：2170546
[Abstract]:The distinction between elegance and vulgarity of Chinese music existed as early as 2000 years ago, such as "Yale, Zheng Sheng" in the Spring and Autumn and warring States period, and "Yang Chunbai Xue" and "Xialiba people" in the capital of Chu, until the distinction of "elegant part, flower department" of opera music in Qing Dynasty. However, most of them are classified from the level of vocal music, and the distinction and exposition of national musical instruments, especially similar musical instruments, from the angle of elegance and vulgarity, has not yet begun in the Chinese music academic circles. The study on the characteristics of Chinese musical instruments' elegant and vulgar attributes can not only put the abstract concept of elegance and vulgarity into concrete musical instrument forms, but also more directly understand the expressive form and formation reasons of elegant and vulgar music; at the same time, We can also promote the specific instrumental music art to the theoretical height of elegance and vulgarity to sum up and understand the characteristics of the specific instrumental music art and its development path can obtain a more macroscopic rational understanding. Therefore, it is helpful not only to understand the relationship between Chinese music and culture, but also to develop the art of national instrumental music and to deepen the understanding of the refined and vulgar culture by examining its characteristics and connotations from the point of view of specific musical instruments. All have certain theoretical and practical significance. In this paper, the author makes a qualitative and comparative study of Qin Zheng music as elegance and customs, in order to study the differences of Qin Zheng music and its cultural connotations in an all-round way, so as to grasp the characteristics of Qin Zheng music more rationally. And understand more deeply the connotation of elegant and vulgar music culture. The full text is divided into four chapters first from the shape, track and literature accumulation of historical evolution, using the subject and occasion, music aesthetic characteristics and genre style characteristics to make a multi-sided comparative study. In this paper, the objective existence of the distinction between musical elegance and vulgarity of Qin Zheng is demonstrated, and the background causes of these differences are discussed. Then it makes a further study of the connotation of elegant and vulgar culture embodied in the difference of Qin Zheng's music with a special chapter. From the height of elegant and vulgar culture, it gives some new ideas: elegance and vulgarity are quite a common cultural phenomenon. It is not only embodied in Chinese vocal music genre or other large-scale music forms, but also in specific instrumental music or even two similar instruments. Piano music takes the road of elegant culture: it emphasizes sticking to the traditional nature, favoring profound, implicit, introverted, stable and other aesthetic tastes, more suitable for the aesthetic taste of the upper social personage; Zheng music takes the path of vulgar culture: more emphasis on change and advance with the times, prefer to express bright, smart, gorgeous, lively and other aesthetic interests, more suitable for the masses of aesthetic taste. The new development of contemporary national instrumental music should be based on the consideration of its own characteristics and cultural connotations in order to achieve good results. The comparative study of the road of musical elegance and vulgarity of Qin Zheng music can help us to understand more clearly the artistic characteristics and functions of the two musical instruments, and make the work of creation, appreciation and research play a better role. To promote the development of these two old and often new instruments in the contemporary era.
【學位授予單位】：南京師范大學
【學位級別】：碩士
【學位授予年份】：2005
【分類號】：J632.3
【引證文獻】
相關(guān)碩士學位論文 前1條
1 楊凡;當代古箏演奏技法的傳承與發(fā)展[D];福建師范大學;2007年
，本文編號：2170546
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