【摘要】：近代中國(guó)音樂(lè)自學(xué)堂樂(lè)歌勃興始。辛亥革命時(shí)期的學(xué)堂樂(lè)歌大都是選用外來(lái)音調(diào)加以填詞,注重的是音調(diào)的情緒和意境,不論外來(lái)歌詞表達(dá)的政治立場(chǎng)和社會(huì)情緒,表現(xiàn)出在音調(diào)上獨(dú)立審美、追求"自由美"的傾向。這種現(xiàn)象其后也極為普遍。顯然,音調(diào)是可以游離文本內(nèi)容而獨(dú)立審美的。由于歷史的原因,美育在中國(guó)沒(méi)能生根發(fā)芽,音調(diào)從屬于概念,成為"附屬美",在很多情況下淪為工具,直至在文革中發(fā)生對(duì)無(wú)標(biāo)題音樂(lè)大肆撻伐的鬧劇。承認(rèn)音調(diào)是可以獨(dú)立審美的,是美育在音樂(lè)領(lǐng)域里的具體體現(xiàn)。音調(diào)是可以獨(dú)立審美的命題并非強(qiáng)調(diào)音調(diào)一定要獨(dú)立審美,要尊重每個(gè)人根據(jù)自己的閱歷和教養(yǎng)尋找并自由地享用"這一個(gè)";要防止的是利用公權(quán)力強(qiáng)行推廣與美育格格不入的"顏色文藝"。
[Abstract]:Modern Chinese music began to flourish in school. In the period of the 1911 Revolution, most of the school songs were filled with foreign tones, paying attention to the mood and artistic conception of the tones, regardless of the political stand and social emotion expressed by the foreign lyrics, showing an independent aesthetic in tone. The tendency to pursue the beauty of freedom. This phenomenon has been extremely common since then. Obviously, the tone can be dissociated from the text content and independently aesthetic. Due to historical reasons, aesthetic education failed to take root and sprout in China, and the tone was subordinate to the concept and became a "subordinate beauty". In many cases, it became a tool until a farce about uncaptioned music took place during the Cultural Revolution. The recognition that tone can be independently aesthetic is a concrete embodiment of aesthetic education in the field of music. The proposition that tone is an independent aesthetic does not emphasize that tone must be independently aesthetically appreciated. Everyone should be respected to seek and freely enjoy "this one" according to their own experience and upbringing, and to prevent the use of public power to force the promotion of "color art" which is incompatible with aesthetic education.
【作者單位】： 武漢音樂(lè)學(xué)院學(xué)報(bào);
【分類號(hào)】：J609.2

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