论青主艺术歌曲的美学特征

发布时间：2018-04-19 21:49

本文选题：青主 + 美学思想　；参考：《河南师范大学》2011年硕士论文

【摘要】：青主(1893—1959),原名廖尚果,又名黎青、黎青主,是我国近现代音乐史上一位极为重要的作曲家、音乐理论家。他以其独特的音乐美学思想及其艺术歌曲创作,被称为我国近、现代音乐史上一位卓有成就的音乐美学家和音乐教育家,是我国艺术歌曲专业化创作的先驱人物之一。青主的创作主要集中于20世纪30年代,他一生共创作声乐作品32首,以艺术歌曲创作为主,并且大多具有很高的艺术价值和欣赏水准。最有代表性和研究价值的是《大江东去》和《我住长江头》两首艺术歌曲, 作为我国20世纪上半叶音乐美学的开拓者,他的音乐生涯只有四年,虽然很短,但是他却是一个多产的作家,曾发表70余篇音乐文论,除了介绍欧洲的一些先进音乐思想外,更重要的是他曾发表了大量关于音乐美学的音乐文论以及两部代表他音乐美学观点的理论著作《乐话》和《音乐通论》,这些著作是我国近现代音乐史上最早较多而又集中探讨音乐美学问题的一批著作。本文通过对青主本人以及对青主音乐美学思想、艺术歌曲的分析与研究,对前人的研究进行了再思考,在理论上得到了以下见解: (1)对于青主美学思想中的第一个核心命题“音乐是上界的语言”进行了深入的分析解释,指出音乐的本质,音乐的特殊性和音乐的功能意义的真正内涵所在,从而得出音乐的本质就是音乐是灵魂的艺术,音乐具有主观能动性,它是表达人类感情的艺术;就音乐的特殊性而言,它是一种不同于绘画和诗歌的声音的艺术,具有“非占有空间位置”的最高的艺术形式的属性,而就其功能意义而言,音乐是一种独立的艺术,音乐中音乐的艺术性应该占主导地位,而不应受到礼的附庸,成为道的工具。 (2)对于青主美学思想中的第二个核心命题“向西方乞灵”学说,有人曾认为它是青主全盘西化学说的有力说辞,本文以辩证唯物主义一分为二的分析原则来加以分析,由此得出:青主在这一命题上有其真知灼见也有其见解的局限性,真知灼见是:他明确肯定了音乐的民族色彩与民族特性,并将音乐的世界性放在民族性之上,在中国音乐的发展的道路上,青主提出了“向西方乞灵”,但向西方乞灵首要者不是利用西方的方法与技巧,而是重在引进西方先进的思想理念,这些见解无论是对于当时“五四”新文化的大背景还是对于今天的现代社会,都是有很深的启迪意义的,而其局限性是:他在论述国乐和西乐的问题上,过分强调了西方音乐的价值,没有深入思考中国传统音乐文化的博大精深之处;甚至仅仅以单音和复音的分别来确定中西音乐之优劣,从而造成了他理论上对于民族文化的片面与偏激等。 (3)通过对其艺术歌曲代表作《大江东去》和《我住长江头》两首艺术歌曲美学特征的分析,我们发现,青主艺术歌曲的美学价值:一方面体现了青主学习欧美作曲技术,走发展民族音乐道路的思想;另一方面,青主艺术歌曲中具有的“诗化”意蕴和典雅气质等独特的美学特征,是中国传统文化的深刻体现。综上所述,本文以青主的美学思想和其艺术歌曲的美学特征为切入点,分析了其艺术歌曲体现出来的美学价值和风格特征,阐述了青主艺术歌曲和其美学思想在近现代音乐史上的开创意义和对我国艺术歌曲创作产生的深远影响。
[Abstract]:The young owner (1893 - 1959), the original name Liao Shangguo, also named Li Qing and Li Qing, is a very important composer in the history of modern music in our country. The music theorist, with his unique musical aesthetic thought and its artistic songs, is called a musical aesthetician and a music educator who is an outstanding achievement in the history of modern music and is our country. One of the pioneers of the professional creation of art songs.
His creation was mainly concentrated in 1930s. He created 32 vocal music works in his life, mainly composed of art songs, and most of them have high artistic value and appreciation level. The most representative and research value are "Jiangdong" and "I live in the Yangtze River" with two art songs.
As a pioneer of music aesthetics in the first half of twentieth Century, his musical career was only four years, although he was very short, but he was a prolific writer. He had published more than 70 musical literary theories. In addition to introducing some advanced European musical ideas, he had published a large number of musical essays on music aesthetics and two generations. The theoretical works of his musical aesthetic views, "Yue Hua >" and "general theory of music", are one of the earliest books in the history of modern music in our country and focused on the problems of music aesthetics.
Through the analysis and study of the Qing Lord himself and the aesthetic thought of the music of the Qing Dynasty and the art song, this paper rethinks the previous research, and obtains the following views in theory.
(1) the first core proposition, "music is the language of the upper boundary", is deeply analyzed and explained. It points out the essence of music, the particularity of music and the real connotation of the function meaning of music, thus the essence of music is that music is the art of the soul, the music has the subjective initiative, it is the expression. The art of human feelings; as far as the particularity of music is concerned, it is a kind of art that is different from the sound of painting and poetry. It has the highest artistic form of "non occupied space position", and as far as its functional significance is concerned, music is an independent art. The artistic nature of music in the music should take the lead, and should not be courtesy. The vassal is the tool of the Tao.
(2) for the second core propositions of the aesthetic thought of the Qing Dynasty, "begging to the west" theory, it was thought that it was a powerful speech of the whole theory of Westernization of the Qing Lord. He clearly affirmed the national color and national characteristics of music, and put the world on the national character. On the road of Chinese music development, the Qing Lord put forward "begging to the west", but the first person to the Western begging is not the use of Western methods and techniques, but the introduction of western advanced ideas, These views are very enlightening to the great background of the "54" new culture at that time or to the modern society of the day, but the limitation is that he overemphasized the value of western music on the issue of discussing national music and western music, and did not deeply think about the profound and profound aspects of Chinese traditional music culture. To determine the merits and demerits of Chinese and western music only by the difference between monosyllabic and polysyllabic music, thus resulting in the one-sided and extreme theoretical and cultural aspects of Chinese culture.
(3) through the analysis of the aesthetic characteristics of the two artistic songs of the "great river east" and "I live in the head of the Yangtze River", we find that the aesthetic value of the art song of the Qing Dynasty: on the one hand, it embodies the ideas of the young masters in learning the European and American composing techniques and the development of the road of national music; on the other hand, the "poetic" of the art songs of the Qing Dynasty. The unique aesthetic features such as implication and elegant temperament are the profound embodiment of Chinese traditional culture.
To sum up, this article, based on the aesthetic thought of the Qing Dynasty and the aesthetic features of his art songs, analyzes the aesthetic value and style of his art songs, and expounds the pioneering significance of the Qing Dynasty art song and his aesthetic thought in the history of modern music and the profound influence on the creation of Chinese art songs.

【学位授予单位】：河南师范大学
【学位级别】：硕士
【学位授予年份】：2011
【分类号】：J605

【参考文献】