“和声”之“雄浑”-百年中国合唱与美颂关系的文化、美学解读

发布时间：2018-01-04 08:35

本文关键词：“和声”之“雄浑”-百年中国合唱与美颂关系的文化、美学解读　出处：《暨南大学》2014年博士论文　论文类型：学位论文

【摘要】：在中国,现代意义的合唱始于20世纪初,至今只有近百年历史。但百年来,站在西方已经相当成熟的创作技法,和中国源远而又深厚的文化传统的基础上,中国合唱从取之不尽的民间音乐宝库中吸取营养,迅速成长,融西方技法与中国文化于一炉,走出一条中国特色的合唱发展之路。本论文以中国合唱内容上的“美颂”特质为逻辑主线,分上下两篇,分别从文化和诗学两个层面切入,对百年中国合唱进行了宏观整体性阐释。伴随着中国百年的政治巨变,合唱从产生到发展成熟经历了跟政治的胶着到逐渐疏离,然而,合唱因其“群体性歌唱的人声属性”,始终与时代联系跟主流意识同步,承载着传统的“美颂”精神,只是颂赞的主题由相对单一到多元拓展。论文在对近百年的合唱作品(以大中型为主)与美颂精神的关系进行分时期梳理之后,揭示出中国合唱的美颂特质与中国传统“和”文化及“乐教”思想的内在联系,将合唱在不同历史时期的社会功能总结为“情和、心和、人和”。中国合唱是合唱这种艺术形式与中国社会现实的结合,表现的是中国人的实际人生,表达的是民族的精神、思想和情感,而创作主体和审美主体均与中国文化母体密切联系。即使在声部构建的技法上借鉴了西方,但所使用的音乐材料是中国的、民族的,传统美学思维会隐性或显性地渗透在音乐的组织原则中。因此,论文下篇以极具中国文化特质的“雄浑”范畴为统摄,来解读百年中国合唱的美学特征:合唱的多声部属性以及中国合唱承载着美颂精神所具的浩然之气,决定了它的雄健,“大”和“力”是它的审美形态。而中国文化语境中合唱具有极大的美学涵容性,力的刚柔相济是“中和”思想在集体无意识下的审美心理积淀。所以中国合唱的美学特征只能是“雄浑”,而不能是西方的“崇高”,其审美本质跟中国文论史上对“有与无”、“言与意”,及“生命精神”的探讨关联,体现在“形与神的关系”,“意象意境的主体性”及“气为合唱生命本体”三个方面。
[Abstract]:In Chinese, modern chorus began in the early twentieth Century, has only a history of nearly 100 years. But for hundreds of years, standing in the West has been quite mature literary techniques, basic and profound cultural tradition and the source Chinese far, Chinese chorus of folk music from inexhaustible treasure absorb nutrients, grow rapidly, western harmony techniques and China culture in a furnace, out of a characteristic development road China chorus. In this paper, the content of the "beauty Chinese chorus song" character as a logical clue, is divided into two parts, respectively from the two aspects of culture and Poetics of Chinese chorus cut, hundred years the macro overall interpretation. With the China hundred years of political upheaval, the chorus from generation to mature experience with the political stalemate to alienation, however, because of the chorus "group singing voice properties, and the time synchronization contact with the mainstream consciousness, bearing Carrying the traditional "beautiful song" spirit, just praise theme from single to multiple expansion. In the nearly hundred years of choral works (mainly to large and medium-sized) after the period of carding and relationship between the spirit of song, reveals the inner link Chinese chorus Meisong traits and China tradition "and" the culture and the "music education" concept, will be summed up as "emotion and chorus, heart and in different historical periods of social function, and. China chorus is a combination of the chorus of this art form and China social reality, is the performance of real life Chinese, as is the national spirit and thought emotion, creation subject and aesthetic subject and China culture closely. Even in the construction of the voice from the western techniques, but the music material is China, national, traditional aesthetic thinking will be implicit or explicit penetration in music The principle of organization. Therefore, in the last part of the paper to China culture very "vigorous" category as the unifying aesthetic features to interpret the Chinese 100 years: multi voice chorus chorus chorus and the China attribute carries the spirit of song with magnanimous, determines its vigorous, "big" and "force" is the aesthetic form of it. The chorus China cultural context has great aesthetic connotation, the force is move among force and soft "and" thinking in the collective consciousness of aesthetic psychological accumulation. So the aesthetic features of China chorus is only "vigorous", not western "lofty" the aesthetic essence with the China the history of "and", "words and meaning", and to explore the relationship between "life spirit", embodied in the "relationship" with God, "subjectivity" and "artistic image gas into three aspects of chorus of life ontology".

【学位授予单位】：暨南大学
【学位级别】：博士
【学位授予年份】：2014
【分类号】：J616.2

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