区域文化视野中的“秦派民乐”创作研究

发布时间：2018-03-19 06:41

本文选题：陕西　切入点：“秦派民乐”　出处：《上海音乐学院》2013年博士论文　论文类型：学位论文

【摘要】：“秦派民乐”是二十世纪下半叶,也就是新中国成立后,在中国陕西省形成的一种创作现象,它的表现是,有一批民乐演奏家与专业作曲家投身于民族器乐音乐领域,创作了大量以陕西民间音乐为素材或以陕西风格为取向的民族器乐作品。并通过长期积累,逐渐在一些领域形成了民族器乐的地方派别,如“秦派二胡”、“陕西筝派”,在全国产生重要影响。60余年的发展历程,使这一地区的专业民族器乐创作从无到繁荣,再到“立派”的发展态势,在建国后的中国其它区域的专业民族器乐音乐领域中是鲜见的。由此开启了笔者对它的研究。对“秦派民乐”笔者采用的是以“区域音乐文化研究”为理论取向的研究视角。从“区域”、“时代”、“人”、“音乐作品”这四个独立又彼此交汇的视野出发,关注“时代”、“区域”是如何对“人”与“音乐作品”产生作用的。并将“秦派民乐”的研究放置于中国专业音乐创作、教育、表演的宏观背景下来审视,通过“秦派民乐”与国家整体音乐发展趋势中的比较,关注“国家的在场”对其发展的影响。本文由绪论、四个章节、余论、结语构成：绪论部分主要从研究对象与研究价值、目前此领域的研究状况与本文的研究空间与理论视角、以及研究策略与方法进行了论述与探讨。第一章将聚焦于“建国17年”,与“二十世纪八十年代后”这两个对于中国民族器乐音乐发展最为关键与重要的历史时期,将“秦派民乐”放置于国家发展的大历史背景下来分析、思考它的发展历程。第二章是对二十世纪八十年代“秦派民乐”运作模式的探讨。从“秦派民乐”的发展历程看,这一阶段是“秦派”音乐家群体公认的最为辉煌的时期。通过对八十年代的社会环境、“秦派民乐”中的领军人物、学院机制下的民族器乐发展模式,这三个方面展开论述。第三章是对“秦派民乐”的创作与地域文化的关联分析。这章将分析陕西自然地理与其地域文化所孵化的民间音乐品种是如何对当代“秦派民乐”的创作产生影响的,并且在陕西如此丰富的民间音乐形态中其最核心的特质是如何在当代器乐作品中传承与延续的。第四章将以作品为主线,选取“秦派民乐”中重要的代表作品进行细致的形态分析,重点关注在这些作品中所呈现的创作方式与创作观念蕴藏着什么样的变化因素与不变因素,同时也关注于创作者的成长环境、教育背景与其创作风格的关联。余论对“秦派民乐”在进入二十世纪九十年代之后的发展变化与趋势进行了论述,揭示了后“秦派民乐”时代的来临。在结语中将进一步探讨对“秦派民乐”的研究意义,以及笔者通过聚焦于一个区域的专业民族器乐创作研究,对二十世纪以来的中国专业民族器乐创作及其研究有何新的认识?
[Abstract]:"Qin folk music" is a kind of creative phenomenon formed in Shaanxi Province of China in the second half of 20th century, that is, after the founding of New China. Its manifestation is that a group of folk musicians and professional composers devoted themselves to the field of national instrumental music. He has created a large number of national instrumental music works with Shaanxi folk music as the material or Shaanxi style as the orientation. Through long-term accumulation, the local schools of national instrumental music have gradually formed in some fields. For example, "Qin School Erhu" and "Shaanxi Zheng School" have had an important influence on the development of the whole country for more than 60 years, so that the professional instrumental music creation in this area has gone from nothing to prosperity, and then to the development trend of "upright school". It is rare in the field of professional national instrumental music in other regions of China after the founding of the people's Republic of China, which opens the author's research on it. The author of "Qin School Folk Music" adopts a theoretical perspective of "the study of Regional Music Culture" from the perspective of "region", "time", "Man" and "Music works", which are independent and intertwined with each other, from the perspective of "region", "time", "Man" and "Music works". Pay attention to "time" and "area" how to influence "people" and "music works". And put the study of "Qin folk music" in the macro background of Chinese professional music creation, education and performance. Through the comparison between "Qin School Folk Music" and the national music development trend, the influence of "the presence of the country" on its development is concerned. This paper is composed of the introduction, four chapters, the remainder, and the conclusion:. The introduction part mainly discusses and discusses the research object and research value, the current research situation in this field and the research space and theoretical perspective of this paper, as well as the research strategy and method. The first chapter will focus on "17 years after the founding of the people's Republic of China" and "after 1980s", the two most critical and important historical periods for the development of Chinese national instrumental music. Put Qin School Folk Music in the historical background of national development to analyze and think about its development course. The second chapter discusses the operation mode of Qin School Folk Music in 1980s. This stage is recognized as the most brilliant period by the group of "Qin School" musicians. This paper discusses the social environment in 80s, the leading figures in the "Qin School Folk Music" and the development model of national instrumental music under the college mechanism. The third chapter is an analysis of the relationship between the creation of "Qin folk music" and the regional culture. This chapter will analyze how Shaanxi's natural geography and the variety of folk music incubated by its regional culture have an impact on the creation of contemporary "Qin folk music". And in Shaanxi so rich folk music form its core characteristic is how to inherit and continue in the contemporary instrumental music works. Chapter 4th will take the works as the main line, select the important representative works in "Qin School Folk Music" to carry on the detailed morphological analysis. This paper focuses on the changing factors and invariant factors of the creative ways and ideas presented in these works, as well as the relationship between the creators' growing environment, the educational background and their creative styles. On the other hand, the author discusses the development, change and trend of "Qin Folk Music" after 1990s, and reveals the coming era of "Qin Folk Music". In the conclusion, I will further explore the significance of the research on "Qin folk music", and the author will focus on a region of professional national instrumental music creation research, What is the new understanding of the creation and research of Chinese professional instrumental music since 20th century?
【学位授予单位】：上海音乐学院
【学位级别】：博士
【学位授予年份】：2013
【分类号】：J632

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