建国以来中国手风琴作品发展轨迹探微

发布时间：2018-04-17 14:57

本文选题：手风琴 + 中国作品　；参考：《山东师范大学》2005年硕士论文

【摘要】：作为一种被引进的外来艺术形式,手风琴真正成为一门独立的学科体系准确的说是在新中国成立以后。随着我国社会主义文化建设的需要,以及老一辈手风琴音乐艺术家们的不懈努力,才使得手风琴音乐这一外来文化的产物在中国大地上开出绚烂的花朵,成为我国广大群众喜闻乐见的一种艺术形式。但从学科建设的角度和建立“中国手风琴学派”的目标来看,多年来在音乐作品创作领域始终存在着些许遗憾,那就是几十年来手风琴的教学活动和舞台表演能力日臻成熟与音乐作品创作及相关理论研究发展相对缓慢之间的矛盾。因此,要想集中的表现中国传统音乐文化的精华,建立具有中国特色的手风琴音乐体系,看到更多样、更专业的中国手风琴音乐作品的诞生将是我们渴望的。全文共分为五部分,依次是绪论:本课题的研究意义、现状和历史回顾。这一部分主要指出对手风琴作品的发展轨迹进行系统分析,将会对推动中国手风琴事业起到促进作用,并简要进行回顾;第一章:(1949—1966 年)吸收与继承时期。通过分析当时几首代表作,对70 年代之前创作上的突破进行点描;第二章:(1966—1976 年)借鉴与开拓时期,在这个特殊时期,手风琴音乐作品以改编为主,但在写作手法和技术水平方面都获得了一定的进展,是一个在曲折中前进的时期;第三章:(1976—2000 年)创新与多元化时期。本章以四个小节的内容主要从四类曲式结构方面概括了80 年代以后,多样化特征中国手风琴创作中的显现;结语:关于中国手风琴音乐作品发展的思考。作为一件大众化的乐器,中国手风琴艺术经历了从伴奏逐渐走独奏、重奏等多种表现形式,以及由改编走向独立创作的发展历程。手风琴在中国是一件有着广阔发展空间的乐器,因而还需要我们正确认识和对待发展中存在的问题。本论文对1949 年以来中国手风琴音乐作品在中国的发展轨迹作一简要回顾,以及瑾代表本人力所能及的评价与判断,以期有助于从中集结一点对后来者有益的启示,并期待今后有更多专业同仁涉猎这一新音乐领域,使我们的这项事业在今后的发展过程中获得及时的点化与精神的指引,促进中国手风琴作品的创作真正在更高的品味上走向成熟。
[Abstract]:As an imported art form, accordion really became an independent discipline system after the founding of New China.With the need of socialist cultural construction in our country and the unremitting efforts of the older generation of accordion music artists, the accordion music, the product of foreign culture, has blossomed in the land of China.Become a kind of art form that the broad masses of our country like to see.However, from the perspective of discipline construction and the goal of establishing the Chinese accordion School, there have been some regrets in the field of music creation for many years.That is the contradiction between the maturation of accordion teaching activities and stage performance and the slow development of music creation and related theoretical research.Therefore, to concentrate on the essence of Chinese traditional music culture, to establish the accordion music system with Chinese characteristics and to see the birth of more diverse and professional Chinese accordion music works will be our desire.The full text is divided into five parts, followed by the introduction: the significance of this topic, the status quo and historical review.This part mainly points out that the systematic analysis of the development track of accordion works will promote the development of Chinese accordion and briefly review the period of absorption and inheritance.Through the analysis of several masterpieces at that time, the breakthrough in creation before the 1970s was described; the second chapter:: 1966-1976) during the period of reference and development, the accordion music works were mainly adapted during this special period.However, it has made some progress in writing techniques and technical level, which is a period of progress in twists and turns; chapter three is the period of innovation and diversification from 1976 to 2000.This chapter summarizes the manifestation of Chinese accordion from four types of musical structure in the four sections; conclusion: thinking about the development of Chinese accordion music works.As a popular musical instrument, the art of Chinese accordion has experienced a variety of manifestations from accompaniment to solo and recital, as well as the development from adaptation to independent creation.Accordion is an instrument with wide developing space in China, so we need to correctly understand and deal with the problems in development.This paper briefly reviews the development of Chinese accordion music works in China in the past 1949 years, as well as the evaluation and judgment that Jin can make on behalf of himself, in order to help gather some useful enlightenment for the later ones.And look forward to more professional colleagues dabbling in this new music field in the future, so that our cause in the future development process to get timely and spiritual guidance,To promote the creation of Chinese accordion works in higher taste towards maturity.
【学位授予单位】：山东师范大学
【学位级别】：硕士
【学位授予年份】：2005
【分类号】：J609.2

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