本文選題：“文革”后期 + “錄音錄像組”��； 參考：《中央音樂(lè)學(xué)院》2011年碩士論文

【摘要】：本文以1974年底至1976年間,“國(guó)務(wù)院錄音錄像工作組”所做的具體工作為研究對(duì)象,通過(guò)對(duì)參與此項(xiàng)工作的人員及其工作內(nèi)容的考察,回顧在“文革”后期,以“特殊方式”對(duì)中國(guó)傳統(tǒng)音樂(lè)進(jìn)行的秘密的“搶救”工作。 在論題的研究過(guò)程中,本文綜合采用了社會(huì)調(diào)查的方法、運(yùn)用歷史學(xué)的研究視角及音樂(lè)學(xué)的分析方法。在資料挖掘方面：筆者通過(guò)人物訪談、史料及音響搜集,不斷尋找新的研究點(diǎn),并嘗試做了較為深層次的分析與研究。 本文重點(diǎn)要研究的是“文革”后期的“錄音錄像工作”在當(dāng)時(shí)的特殊性、重要程度及在新時(shí)期下重新審視之后的特殊意義。通過(guò)對(duì)“文革”后期這段特殊歷史的研究,將一度封存的歷史信息、音樂(lè)史資料收集起來(lái),進(jìn)而對(duì)“文革音樂(lè)史”做更深入的發(fā)掘。筆者以為“錄音錄像組”雖然在當(dāng)時(shí)是為個(gè)別的中央領(lǐng)導(dǎo)人服務(wù),但客觀上還是保存了部分珍貴的傳統(tǒng)戲曲曲藝的錄音錄像,也有了使多數(shù)藝術(shù)家們重返舞臺(tái)的機(jī)會(huì)。 全文共分四部分。第一章“古典詩(shī)詞歌曲的編配及錄音”講述了在“文革”這樣一個(gè)特殊的歷史時(shí)期,在諸多有利的條件面前,古典詩(shī)詞是如何轉(zhuǎn)化為聲像的,在發(fā)掘其歷史價(jià)值的同時(shí)也在探索著其在藝術(shù)方面的價(jià)值：第二章“京劇唱腔器樂(lè)化的演奏錄音”是根據(jù)毛澤東喜好京劇的特點(diǎn),以京劇唱腔進(jìn)行器樂(lè)化改編和演奏錄音來(lái)展開的工作；第三章“傳統(tǒng)戲曲、曲藝的錄音及戲曲劇目的拍攝”不僅保留了優(yōu)秀的傳統(tǒng)劇目,記錄了眾多演員們的精彩表演,也在一定程度上保護(hù)了當(dāng)時(shí)許多被戴上“文藝黑線任務(wù)”帽子,或已被迫改行從事其它工作的藝術(shù)家們。最后在結(jié)語(yǔ)中,本文將總結(jié)筆者對(duì)“文革”后期“錄音錄像組”的政治色彩、工作意義的理解,并引發(fā)出對(duì)“錄音錄像組”所做工作進(jìn)行更進(jìn)一步挖掘和整理的思考,力求對(duì)“文革”后期“錄音錄像組”的工作做以客觀公允的歷史評(píng)價(jià)。
[Abstract]:This paper takes the specific work done by the State Council Audio and Video working Group from the end of 1974 to 1976 as the object of study. Through the investigation of the personnel involved in the work and the contents of their work, this paper reviews the later period of the "Cultural Revolution". The secret "rescue" of Chinese traditional music in a special way. In the course of research, this paper adopts the method of social investigation, the perspective of history and the method of analysis of musicology. In the aspect of data mining, the author tries to find new research points through character interview, historical data and sound collection, and tries to do deeper analysis and research. This paper focuses on the particularity, importance and special significance of the work of audio and video recording in the later period of the Cultural Revolution. Through the study of the special history in the late period of the Cultural Revolution, the historical information and music history materials which were once sealed up were collected, and the musical history of the Cultural Revolution was further explored. The author thinks that although the "audio and video group" served for individual central leaders at that time, it objectively preserved some precious audio and video recordings of traditional opera, and also had the opportunity for most artists to return to the stage. The full text is divided into four parts. The first chapter, "the arrangement and recording of Classical Poems and songs", tells how classical poetry and ci have been transformed into sound and image in the face of many favorable conditions in the special historical period of the Cultural Revolution. While unearthing its historical value, it is also exploring its artistic value: chapter two, "Beijing Opera instrumental recording", is based on the characteristics of Mao Zedong's preference for Beijing Opera. In the third chapter, "recording of traditional operas, quyi and filming of opera repertoire" not only retains excellent traditional repertoire, but also records the wonderful performances of many actors. It also protected to some extent many artists who had been labelled "literary and artistic black lines" or who had been forced to switch to other jobs. Finally, in the conclusion, this paper will summarize the author's understanding of the political color and the working significance of the audio and video group in the later period of the Cultural Revolution, and lead to further research and arrangement of the work done by the "audio and video group". This paper tries to make an objective and fair historical evaluation of the work of the Audio and Video recording Group in the late period of the Cultural Revolution.
【學(xué)位授予單位】：中央音樂(lè)學(xué)院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2011
【分類號(hào)】：J821

【參考文獻(xiàn)】

相關(guān)碩士學(xué)位論文 前1條

1 譚文琳;1950年代以來(lái)的“箏改良”現(xiàn)象研究[D];武漢音樂(lè)學(xué)院;2008年

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本文編號(hào)：1975885