20世紀(jì)上半葉中國音樂思潮研究
發(fā)布時(shí)間：2018-08-22 13:04
【摘要】：本文是對(duì)20世紀(jì)上半葉中國音樂思潮的考察與研究。 20世紀(jì)上半葉,中國音樂文化發(fā)生了深刻的變化,這種變化是從西方音樂傳入、新的音樂思潮的發(fā)生開始的。20世紀(jì)初,西樂東漸與一部分新式知識(shí)分子對(duì)西方音樂的學(xué)習(xí)與接受,使得“學(xué)習(xí)西樂思潮”迅速崛起,學(xué)堂樂歌的興起,是這一思潮的鮮明體現(xiàn)與具體成果;同時(shí),啟蒙與救亡的社會(huì)思潮也促成了“音樂啟民思潮”的形成。世紀(jì)之初興起的這兩股音樂新思潮,對(duì)20世紀(jì)上半葉中國音樂文化的發(fā)展產(chǎn)生了極為重要的影響。此后,20～40年代間,“音樂美育思潮”、“國粹主義音樂思潮”、“國樂改進(jìn)思潮”以及“救亡音樂思潮”陸續(xù)登上中國音樂的歷史舞臺(tái),而“學(xué)習(xí)西樂思潮”則自“五四”后一直呈現(xiàn)出全面而深入發(fā)展的態(tài)勢(shì),是貫穿整個(gè)20世紀(jì)上半葉最具影響的音樂思潮。 音樂美育思潮萌芽于學(xué)堂樂歌早期,在“五四”后獲得較大發(fā)展,為中國早期音樂教育的發(fā)展、社會(huì)音樂生活的豐富以及新音樂的初創(chuàng),發(fā)揮了積極而有力的推動(dòng)作用。國粹主義音樂思潮發(fā)端于學(xué)堂樂歌中、后期,形成于“五四”新文化運(yùn)動(dòng)時(shí)期,是在學(xué)習(xí)西樂思潮逐步走向深入的背景下而迅速崛起的,反映了一部分中國人熱愛傳統(tǒng)音樂文化而又拒絕接受西樂影響的“國粹”情懷與矛盾心理。30年代初期救亡音樂思潮的興起,促使音樂美育思潮逐漸走向式微;抗戰(zhàn)全面爆發(fā)后,國粹主義音樂思潮也迅速走向衰落。20年代形成的國樂改進(jìn)思潮則與學(xué)習(xí)西樂思潮一樣,主張學(xué)習(xí)、借鑒西方音樂的理論與創(chuàng)作技術(shù),改造中國舊有國樂、創(chuàng)造中國新國樂,走中西融合的音樂發(fā)展之路。所不同的是,學(xué)習(xí)西樂思潮主張以西方音樂的形式與技術(shù)作為中國新音樂的創(chuàng)作基礎(chǔ),而國樂改進(jìn)思潮則是主張以舊有國樂的素材作為新國樂的創(chuàng)作基礎(chǔ)。這是兩種不同的中西音樂交融觀,都對(duì)中國新音樂的建設(shè)作出了有益的探索與重要貢獻(xiàn)�！熬拧ひ话恕笔伦兒笈d起的救亡音樂思潮,是20世紀(jì)上半葉最激動(dòng)人心的一股音樂思潮,它是中國人民反抗日本帝國主義侵略、為民族解放而斗爭(zhēng)的偉大意志在音樂上的反映。這一思潮下成長(zhǎng)起來的新音樂運(yùn)動(dòng),以及此間形成的新音樂思想及其創(chuàng)作,成為救亡音樂思潮中最重要的組成部分,并在40年代末逐漸發(fā)展為占據(jù)主流與權(quán)威地位的權(quán)力話語,其中既有不可磨滅的歷史貢獻(xiàn),也為建國后新音樂的發(fā)展帶來了很大的消極影響。 20世紀(jì)上半葉的中國音樂思潮,無不與“新音樂”的發(fā)展密切相關(guān),同時(shí)也是音樂上的中西關(guān)系、古今關(guān)系、雅俗關(guān)系和主附關(guān)系等主要矛盾關(guān)系的集中體現(xiàn)。這些矛盾關(guān)系同樣在不同程度上貫穿了20世紀(jì)下半葉中國音樂的發(fā)展歷程,因而,考察與研究20世紀(jì)上半葉中國音樂思潮的發(fā)展及其特點(diǎn),不僅可以使我們更為全面地認(rèn)識(shí)這一時(shí)期中國音樂的根本性質(zhì)與總體特征,也有助于我們能夠更為清醒地審視整個(gè)20世紀(jì)中國音樂所走過的風(fēng)雨歷程,更為深刻地理解20世紀(jì)中國音樂文化發(fā)展中的諸多深層問題。 深入地了解歷史,深刻地理解歷史,在歷史的回顧中學(xué)習(xí)歷史,在時(shí)代的發(fā)展中超越歷史,是一切歷史研究,包括本文在內(nèi)的根本目的。
[Abstract]:This article is an investigation and study of the trend of Chinese music in the first half of the twentieth Century.
In the first half of the 20th century, profound changes took place in Chinese music culture, which began with the introduction of western music and the emergence of new music trends. At the beginning of the 20th century, these two new trends of thought in music had a very important impact on the development of Chinese music culture in the first half of the 20th century. The quintessential trend of thought in music, the trend of thought in improving traditional Chinese music and the trend of thought in saving the nation from extinction have stepped onto the historical stage of Chinese music.
The trend of music aesthetic education sprouted in the early stage of school music and songs, and developed greatly after the May 4th Movement. It played a positive and powerful role in promoting the development of music education in early China, the enrichment of social music life and the creation of new music. The trend of Chinese quintessence music originated in school music and songs, and formed in the late May 4th New Culture. In the period of the movement, the trend of western music thought was gradually deepened and rose rapidly, reflecting the "quintessence" and contradictory mentality of some Chinese people who loved traditional music culture but refused to accept the influence of Western music. In the 1920s, the trend of thought of improving Chinese music, like that of learning western music, advocated learning, drawing on the theories and creative techniques of Western music, reforming old Chinese music, creating new Chinese music, and taking the road of music development with the integration of China and the West. It advocates taking the form and technique of western music as the basis of Chinese new music creation, while the trend of thought of improving Chinese music advocates taking the material of old Chinese music as the basis of new Chinese music creation. The rising trend of thought of national salvation music in the first half of the 20th century is the most exciting trend of thought in music. It reflects the great will of the Chinese people to resist Japanese imperialist aggression and struggle for national liberation. In the late 1940s, it gradually developed into a power discourse which occupied the mainstream and authoritative position. It has not only an indelible historical contribution, but also a great negative impact on the development of new music after the founding of the People's Republic.
The trend of Chinese music thought in the first half of the 20th century was closely related to the development of "new music", and it was also a concentrated reflection of the main contradictions in music, such as the relationship between China and the West, the relationship between ancient and modern times, the relationship between elegance and popularity, and the relationship between subordination and subordination. By investigating and studying the development and characteristics of Chinese music ideological trend in the first half of the 20th century, we can not only have a more comprehensive understanding of the fundamental nature and general characteristics of Chinese music in this period, but also help us to have a clearer look at the ups and downs of Chinese music in the whole 20th century and a deeper understanding of the 20th century. Many deep problems in the development of Chinese music culture.
It is the fundamental purpose of all historical studies, including this paper, to have a thorough understanding of history, to study history in the retrospect of history, and to transcend history in the development of the times.
【學(xué)位授予單位】：中國藝術(shù)研究院
【學(xué)位級(jí)別】：博士
【學(xué)位授予年份】：2005
【分類號(hào)】：J609.2
[Abstract]:This article is an investigation and study of the trend of Chinese music in the first half of the twentieth Century.
In the first half of the 20th century, profound changes took place in Chinese music culture, which began with the introduction of western music and the emergence of new music trends. At the beginning of the 20th century, these two new trends of thought in music had a very important impact on the development of Chinese music culture in the first half of the 20th century. The quintessential trend of thought in music, the trend of thought in improving traditional Chinese music and the trend of thought in saving the nation from extinction have stepped onto the historical stage of Chinese music.
The trend of music aesthetic education sprouted in the early stage of school music and songs, and developed greatly after the May 4th Movement. It played a positive and powerful role in promoting the development of music education in early China, the enrichment of social music life and the creation of new music. The trend of Chinese quintessence music originated in school music and songs, and formed in the late May 4th New Culture. In the period of the movement, the trend of western music thought was gradually deepened and rose rapidly, reflecting the "quintessence" and contradictory mentality of some Chinese people who loved traditional music culture but refused to accept the influence of Western music. In the 1920s, the trend of thought of improving Chinese music, like that of learning western music, advocated learning, drawing on the theories and creative techniques of Western music, reforming old Chinese music, creating new Chinese music, and taking the road of music development with the integration of China and the West. It advocates taking the form and technique of western music as the basis of Chinese new music creation, while the trend of thought of improving Chinese music advocates taking the material of old Chinese music as the basis of new Chinese music creation. The rising trend of thought of national salvation music in the first half of the 20th century is the most exciting trend of thought in music. It reflects the great will of the Chinese people to resist Japanese imperialist aggression and struggle for national liberation. In the late 1940s, it gradually developed into a power discourse which occupied the mainstream and authoritative position. It has not only an indelible historical contribution, but also a great negative impact on the development of new music after the founding of the People's Republic.
The trend of Chinese music thought in the first half of the 20th century was closely related to the development of "new music", and it was also a concentrated reflection of the main contradictions in music, such as the relationship between China and the West, the relationship between ancient and modern times, the relationship between elegance and popularity, and the relationship between subordination and subordination. By investigating and studying the development and characteristics of Chinese music ideological trend in the first half of the 20th century, we can not only have a more comprehensive understanding of the fundamental nature and general characteristics of Chinese music in this period, but also help us to have a clearer look at the ups and downs of Chinese music in the whole 20th century and a deeper understanding of the 20th century. Many deep problems in the development of Chinese music culture.
It is the fundamental purpose of all historical studies, including this paper, to have a thorough understanding of history, to study history in the retrospect of history, and to transcend history in the development of the times.
【學(xué)位授予單位】：中國藝術(shù)研究院
【學(xué)位級(jí)別】：博士
【學(xué)位授予年份】：2005
【分類號(hào)】：J609.2
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