本文選題：社會學 + 中蘇音樂交流��； 參考：《當代音樂》2016年04期

【摘要】：從20世紀初的"學堂樂歌"、三四十年代的"抗日救亡歌曲"到50年代的"以蘇為師"及80年代改革開放后引入"多元音樂文化",20世紀中國音樂歷史中的四次大規(guī)模"西樂東漸"浪潮,唯有"50年代的中蘇音樂交流"以其高度的政治性、體系性和群眾性而獨具特色。這一時期,我國在音樂教育、音樂創(chuàng)作、音樂表演、音樂理論等各方面學習、借鑒蘇聯(lián)經(jīng)驗,蘇聯(lián)的音樂文化模式以近乎"移植"的方式引入中國并被廣泛接受。鑒于這種文化模式的"引入與接受"從其發(fā)軔之初就與社會制度和意識形態(tài)密切關(guān)聯(lián)。所以本文以社會學理論為支撐,透過"社會學之眼"回顧典型事例,解讀"中蘇音樂交流"的社會動因和歷史意義。
[Abstract]:From "School Music" in the early 20th century, "Song of resisting Japan and saving the country" in the 1930s and 40s to "taking the Soviet Union as a teacher" in the 1950s and introducing "multi-musical culture" after the reform and opening up in the 1980s, the four major rules in the history of Chinese music in the 20th century have been introduced. Model "the tide of" the East and the West ", Only the music exchange between China and the Soviet Union in the 1950 s was characterized by its high political, systematic and mass character. During this period, our country studied in music education, music creation, music performance, music theory and so on, and drew lessons from the experience of Soviet Union. The Soviet music culture model was introduced into China in the way of "transplantation" and was widely accepted. The introduction and acceptance of this cultural model has been closely related to social system and ideology since its inception. Therefore, based on the theory of sociology, through the review of typical examples in the Eye of Sociology, this paper interprets the social motivation and historical significance of the musical exchange between China and the Soviet Union.
【作者單位】： 中國音樂學院博士后科研流動站;哈爾濱音樂學院;
【基金】：教育部人文社科青年基金項目(13YJC760049)
【分類號】：J609.1
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本文編號：1790473