李皖的流行音乐批评方法与美学理论探微

发布时间：2018-06-12 03:28

本文选题：李皖 + 业余乐评人　；参考：《上海音乐学院》2017年硕士论文

【摘要】：全文始于"中国流行音乐评论的困顿与希望"。困顿,指乐评人的集体缺位。长期以来,导致该现象的二点原因未能引起业界应有重视——我国缺乏健全的音乐评论保护体制,尤欠稳固的评论渠道、阵地;专业音乐学者与业余评论人各自为阵,跨学科交流的缺失大大影响了音乐评论产出的数量与质量。笔者对此前三十年间华语流行音乐评论的文化生态做了史料性梳理,并独辟蹊径,介绍了业余乐评人写作路径、言论阵地,以及介入音乐产业的模式。而后,引入本文论述中心——李皖其人,着力介绍其鲜为人知的生平、教育背景、二重职业身份。第二章,简要回溯李皖的乐评写作生涯,探析李氏乐评的写作初衷、媒体阵地、聚焦重点,为理解、评述李皖乐评提供必要背景环境。随后,以李皖至今出版发行的11部乐评集锦作为研究主体,探讨其评论对象的地域、体裁、风格特征,并一窥乐评人李皖的艺术旨趣、写作意旨。最后,笔者分出笔力,论述两部"非主流"乐书——《多少次散场,忘记了忧伤——六十年三地歌》与《人间、地域与天堂之歌》,分析李皖写作大部头音乐专著的视域、能力与使命感。第三章则聚焦李皖个人的文论特点,谈论笔者对李皖文字风格的理解与不满足感。他的乐评具有"甜的外观,苦的内质",善于提炼共性与特性,长于歌词文本解读。他的行文角度灵活多元。这种恣意不拘束的文风得益于两点:评判立场游走于主位、客位之间,既张扬个性、不畏下断语,又严苛公正、言之有物;他倡导通识教育,字里行间闪烁着新闻人、美学家、社会学家、史官、诗人五重身份的多维观照与真知灼见。他的乐评语言婉丽清新,具有幽默、机智等修辞特点。此外,他对口语(甚至方言)写作的偏爱,对动词的别致把握,使其乐评生动灵活、跃然纸上;诗化语言的运用,更是增添了文字的深度、可读性。第四章重点论述李皖的流行音乐美学。他将流行音乐作为艺术品严肃对待,关注流行音乐的"美" "理" "真",推崇"真诚美学"。兼为"业余诗人"与"业余乐评人",李氏乐评于流行音乐中的"诗、词、歌"关系颇具见地。他认识到流行音乐的文本不能简单等同于歌曲歌词,还包含许多复杂的音乐元素;歌词与诗歌的差异极为显著,但部分摇滚、民谣歌词达到了诗歌的艺术高度,值得引起学者、诗人的重视;诗、歌同源,而后经历漫长的分离,终于在民谣、摇滚二种流行音乐形式中重新融合。有别于诸多乐评人的是,李皖始终秉持着对艺术的敬畏之心,与评论对象保持安全距离;他长逾二十年的乐评写作始终贯彻着知识分子的使命感。
[Abstract]:The full text begins with the dilemma and hope of Chinese pop music review. Difficulty refers to the collective absence of music critics. For a long time, the two reasons leading to this phenomenon have not aroused the due attention of the industry-our country lacks a sound music commentary protection system, especially a sound comment channel and position. The lack of cross-disciplinary communication greatly affects the quantity and quality of music review output. The author makes a historical review of the culture and ecology of Chinese pop music reviews in the past 30 years, and introduces the writing path, the position of the amateur music critics, and the mode of intervention in the music industry. Then, this paper introduces the center-Li Wan his people, focusing on his little-known life, educational background, dual professional identity. In the second chapter, we briefly review Li Wan's career in music review, analyze the original intention, media position and focus of Li's music review, and provide the necessary background environment for understanding and commenting on Li Wan's music review. Then, taking 11 music criticism collections published by Li Wan up to now as the main body of study, this paper discusses the region, genre and style characteristics of the subjects of comment, and gives a glimpse of the artistic purport and writing intention of Li Wan. Finally, the author points out two "non-mainstream" music books-< how many times the end of the scene, forgot the sad-sixty years of songs in the three places > and "the earth, the region and heaven", and analyzed Li Wan's extensive music monographs. Ability and sense of mission. The third chapter focuses on the characteristics of Li Wan's personal literary theory, and discusses the author's understanding and discontentment of Li Wan's writing style. His music review has "sweet appearance, bitter endoplasm", is good at refining common character and characteristic, is longer than lyric text interpretation. His writing is flexible and diverse. This unrestrained style of writing benefits from two things: the judging position moves between the theme, the guest, the personality, not the fear of the conclusion, but also the harsh and just, the substance of the words; he advocates general education, the words flickering between the press, aesthetician, Social scientists, historians, poets of the five-dimensional identity of the view and insight. His musical comment language is fresh, humorous, witty and so on. In addition, his preference for oral writing (even dialect) and his chic grasp of verbs make his music comments vivid and flexible, and the use of poetic language increases the depth and readability of the text. The fourth chapter focuses on Li Wan's pop music aesthetics. He takes pop music as a work of art seriously, pays close attention to the beauty and truth of pop music, and exalts sincere aesthetics. Also known as "amateur poet" and "amateur music critic", Li's music reviews the relationship between "poetry, ci and song" in pop music. He realized that the text of pop music could not be equated simply with the lyrics of songs, but also contained many complicated musical elements; the difference between lyrics and poems was very significant, but in part rock, the lyrics of folk songs reached the artistic level of poetry and deserved to attract scholars. Poet's attention; poetry, song homologous, then experienced a long separation, finally in the folk music, rock and roll in the two forms of pop music re-integration. What is different from many music critics is that Li Wan always holds the reverence of art and keeps a safe distance from the object of comment, and his writing of music criticism for more than 20 years always carries out the intellectual's sense of mission.
【学位授予单位】：上海音乐学院
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J605

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