【摘要】：本文著意于作曲家陳鋼在“文革”時(shí)期創(chuàng)作的“紅色小提琴”作品，將其創(chuàng)作至于“文革”音樂(lè)創(chuàng)作的宏觀歷史背景下，運(yùn)用音樂(lè)史學(xué)的視角，通過(guò)考察陳鋼在“文革”時(shí)期的生活經(jīng)歷，解讀陳鋼“紅色小提琴”的創(chuàng)作動(dòng)因及思維生成，，試圖發(fā)掘陳鋼“紅色小提琴”產(chǎn)生的歷史的偶然因素與必然因素。 出身于“海派文化”鼎盛時(shí)期上海一個(gè)名門貴族家庭的陳鋼，“海派文化”與父親陳歌辛印度血統(tǒng)、母親金嬌麗回族血統(tǒng)對(duì)其音樂(lè)創(chuàng)作觀念的形成產(chǎn)生了深刻的影響。陳鋼認(rèn)為，他的音樂(lè)創(chuàng)作很大一部分影響來(lái)自父親，雖然在上海音樂(lè)學(xué)院接受專業(yè)的音樂(lè)理論及作曲技法為他的音樂(lè)生涯奠定了基礎(chǔ)，陳鋼始終認(rèn)為：他最初的音樂(lè)啟蒙受益于父親陳歌辛。 將自己的音樂(lè)創(chuàng)作看成是一條歷史長(zhǎng)河的陳鋼，“紅色小提琴”的創(chuàng)作與其前后的音樂(lè)創(chuàng)作有著或多或少的聯(lián)系，順勢(shì)而生、逆勢(shì)而動(dòng)是陳鋼對(duì)他不同時(shí)期音樂(lè)創(chuàng)作的概括。 文中還涉及到對(duì)“紅色小提琴”音樂(lè)本體分析，闡釋其所具有的獨(dú)特的音樂(lè)特征及時(shí)代印記。最后以歷史的、發(fā)展的眼光看待“紅色小提琴”的傳播、影響及其價(jià)值，當(dāng)然也毫不避諱言其所隱含的政治印記。
[Abstract]:This paper focuses on the works of "Red Violin" created by composer Chen Gang during the Cultural Revolution. Under the macro historical background of the music creation of the "Cultural Revolution", the author applies the perspective of music history. By examining Chen Gang's life experience during the "Cultural Revolution", this paper interprets the creative motivation and thinking formation of Chen Gang's "Red Violin", and tries to explore the accidental and inevitable factors in the history of the "Red Violin" produced by Chen Gang. Chen Gang, who was born in a famous Shanghai aristocratic family during the peak of "Shanghai Culture", had a profound influence on the formation of his music creation idea by "Shanghai Culture" and his father Chen GE Xin's Indian lineage and his mother's blood of Jin Qiaoli Hui nationality. Chen Gang believes that a large part of his music creation came from his father, although the acceptance of professional music theory and composition techniques at the Shanghai Conservatory of Music laid the foundation for his musical career. Chen Gang always believed that his initial music enlightenment benefited from his father, Chen GE Xin. Taking his music creation as a long history of Chen Gang, the creation of "Red Violin" has more or less relation with the music creation before and after it. It also involves the analysis of the music Noumenon of "Red Violin" and its unique musical features and epoch imprint. Finally, the dissemination, influence and value of Red Violin are viewed from a historical and developmental perspective.
【學(xué)位授予單位】：武漢音樂(lè)學(xué)院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類號(hào)】：J622.1

【參考文獻(xiàn)】

相關(guān)期刊論文 前10條

1 趙純;當(dāng)代中國(guó)小提琴獨(dú)奏曲的高峰——析《陽(yáng)光照耀著塔什庫(kù)爾干》[J];福建藝術(shù);1997年05期

2 王蔚生;;紅色小提琴潮——從《潘寅林——中國(guó)小提琴經(jīng)典作品》獲金唱片獎(jiǎng)?wù)勂餥J];編輯學(xué)刊;2013年01期

3 羅穎;;陳鋼帶來(lái)“紅色小提琴”[J];北方音樂(lè);2006年12期

4 苗禾;李陽(yáng);鄭家苗;;陳鋼訪談錄[J];當(dāng)代電影;2011年05期

5 譚曉春;;陳鋼“紅色經(jīng)典”中國(guó)小提琴獨(dú)奏作品解析[J];淮南職業(yè)技術(shù)學(xué)院學(xué)報(bào);2006年02期

6 陳聆群;我們的“抽屜”里有些什么?——談中國(guó)近現(xiàn)代音樂(lè)史研究的史料工作[J];黃鐘(中國(guó).武漢音樂(lè)學(xué)院學(xué)報(bào));2002年03期

7 曾遂今;從音樂(lè)的自然傳播到技術(shù)傳播(上)——當(dāng)代音樂(lè)傳播理論探索思考之一[J];黃鐘(中國(guó).武漢音樂(lè)學(xué)院學(xué)報(bào));2003年03期

8 宮宏宇;;不僅僅只是“紅寶書、樣板戲、語(yǔ)錄歌”——康浩(Paul Clark)著《文革文化史》述評(píng)[J];黃鐘(中國(guó).武漢音樂(lè)學(xué)院學(xué)報(bào));2009年04期

9 周耘;;紅歌:特定時(shí)代的歷史記憶[J];黃鐘(中國(guó).武漢音樂(lè)學(xué)院學(xué)報(bào));2012年02期

10 康樂(lè);;“文革”期間中國(guó)小提琴音樂(lè)民族化問(wèn)題研究[J];晉中學(xué)院學(xué)報(bào);2011年02期

本文編號(hào)：2332576