社会学视域下的中苏音乐交流

发布时间：2018-06-20 15:14

本文选题：社会学 + 中苏音乐交流　；参考：《哈尔滨师范大学》2011年博士论文

【摘要】：从二十世纪初的“学堂乐歌”、三四十年代的“抗日救亡歌曲”到五十年代的“以苏为师”及八十年代改革开放后引入“多元音乐文化”,二十世纪中国音乐历史中的四次大规模“西乐东渐”浪潮唯有“五十年代的中苏音乐交流”以其高度的政治性；体系性和群众性而独具特色。这一时期,我国在音乐教育、音乐创作、音乐表演、音乐理论等各方面学习、借鉴苏联经验,苏联的音乐文化模式以近乎“移植”的方式引入中国并被广泛接受。鉴于这种文化模式的“引入与接受”从其发轫之初就与社会制度和意识形态密切关联,所以本文以社会学理论为支撑,透过“社会学之眼”回顾典型事例,解读“中苏音乐交流”的社会动因和历史意义。第一章为全文的绪论,详细介绍了论文的选题依据、学术价值、国内外研究现状、研究方法及研究思路等。第二章综合论述了中苏音乐交流的广泛内容,总揽式的例举了相关史事,明确了中苏音乐交流之于新中国音乐文化建设的重要意义。第三章为了进一步说明苏联在这一时期对我国音乐文化建设的深刻影响,在众多中苏音乐交流内容中选取了最具代表性的“苏联音乐专家在中国”作为典型案例,通过对大量档案文献的梳理,系统地呈示1954年-1960年间31位苏联音乐专家在中国进行音乐活动的历史轨迹。第四章在社会学“情境定义”、“社会交往”理论框架下,对苏联音乐专家在华工作的过程和影响做出定性分析,深度剖析专家与专家学生同社会的互动关系以及苏联专家对我国音乐事业的深刻影响。第五章结合典型事例,运用“社会运动”理论的分析模型对整个中苏音乐交流的社会动因加以解读。最后对20世纪50年代的“中苏音乐交流”在中国音乐文化事业发展中的历史定位和社会启示做出结论。由于上世纪六、七十年代中苏两国政治交恶的尴尬局面以及“文化大革命”给人心理上造成的混乱与惶惑,对这段音乐历史的研究成为我国当代音乐史研究的“禁区”。多年来,学者们对这一历史阶段音乐事项的研究大多限于对整体态势的笼统概括,全面而细致地解读苏联音乐专家对我国音乐文化事业的重要影响是本论文在学术上的重要突破,毕竟时代赋予我们更加多元的文化诉求和更加宽松的政治格局。以社会学理论为支撑,在社会学的视域下探寻这一时期苏联音乐专家在中国的活动轨迹,我们清楚地看到：为了在现代世界中生存,发展中国家必须用比发达国家短的多的时间完成国家建构,许多不利于社会发展的传统结构,只有国家的力量才能加以改造。从某种意义上说,上世纪五十年代包括苏联音乐专家来华在内的中苏音乐交流是国家主导下的社会行为,认真剖析中苏音乐交流过程中的社会机制,总结引发中苏音乐交流的社会动因,对于规划中国音乐未来的发展方向及开创中外音乐交流的新局面具有一定的启发价值和现实意义。
[Abstract]:From the "school music song" in the early twentieth Century, the "Anti Japanese salvation song" in 30s and 40s to the "Soviet Union as the teacher" in 50s and the introduction of "multi music culture" after the reform and opening up in 80s, the four large-scale "western music eastward" wave tide in the Chinese music history of twentieth Century is only "the Sino Soviet music exchange in 50s". It is characterized by its highly political, systematic and mass character.
In this period, our country learned in music education, music creation, music performance, music theory and so on. The Soviet Union's musical culture model was introduced to China in a near "transplant" way and widely accepted by the Soviet Union. In view of the "Introduction and acceptance" of this cultural pattern, the social system and ideology were the beginning of its beginning. Closely related, this article, based on sociological theory, reviews the typical examples through the "eye of sociology" and interprets the social and historical significance of the "Sino Soviet music exchange".
The first chapter is the introduction of the full text. It introduces in detail the basis, academic value, research status, research methods and research ideas of the thesis.
The second chapter comprehensively expounds the extensive content of the music exchange between China and the Soviet Union, and gives an example of the relevant historical events, and makes clear the significance of the exchange of music between China and the Soviet Union in the construction of the new Chinese music culture.
In the third chapter, in order to further explain the profound influence of the Soviet Union on the construction of Chinese music and culture in this period, the most representative "Soviet music expert in China" was selected as the typical case in many Sino Soviet music exchanges. By combing a large number of archival documents, it showed the 31 Soviet music special in -1960 in 1954. The historical track of music in China.
The fourth chapter makes a qualitative analysis on the process and influence of Soviet music experts in China under the framework of "context definition" and "social communication", and deeply analyzes the interactive relationship between experts and experts and the students and the profound influence of Soviet Experts on the music cause of our country.
The fifth chapter, combined with typical cases, uses the analytical model of social movement theory to interpret the social motivation of Sino Soviet music exchange.
Finally, the historical orientation and social enlightenment of the 1950s Sino Soviet music exchange in the development of Chinese music and culture were concluded.
Because of the embarrassing situation of the political disappearance of China and the Soviet Union in the six and 70s and the psychological confusion and confusion caused by the "Cultural Revolution", the study of this musical history has become a "forbidden zone" for the study of the history of contemporary music in our country. The general and general situation of the situation, a comprehensive and detailed interpretation of the important influence of the Soviet music experts on Chinese music and culture is an important breakthrough in this thesis. After all, the times endowed us with a more plural cultural appeal and a more relaxed political pattern.
Under the support of sociological theory, in the field of sociology, we explore the movement track of Soviet music experts in China. We clearly see that in order to survive in the modern world, the developing countries must use more time than the developed countries to complete the national construction, so that the traditional structure of social development is not good, only the country is not conducive to the development of the society. In a sense, in a sense, the Sino Soviet music exchange, including the Soviet music experts in the 50s of the last century, is the social behavior under the leadership of the state. It carefully analyzes the social mechanism in the process of the Sino Soviet music exchange, summarizes the social motivation of the music exchange between China and the Soviet Union, and the future of Chinese music. It is of enlightening and practical significance to develop direction and create new masks for musical exchanges between China and foreign countries.
【学位授予单位】：哈尔滨师范大学
【学位级别】：博士
【学位授予年份】：2011
【分类号】：J609.1

【引证文献】