雅俗之路——琴筝音乐文化差异论
发布时间：2018-08-07 15:56
【摘要】：中国音乐的雅俗分野早在两千年前即有之,如春秋战国时期的“雅乐、郑声”,和楚国都城的“阳春白雪”与“下里巴人”之论,直到清代戏曲音乐的“雅部、花部”之别。但这些多是从声乐层面进行的划分,而将民族乐器特别是同类形制的乐器从雅俗角度进行区别和论述,则至今在中国音乐学术界尚未开始。 对中国乐器作雅俗属性特征的研究,既可以将比较抽象的雅俗概念落实到具体乐器形态上,从而更加直接的理解雅俗音乐的表现形态和形成原因;同时,又可以将具体的器乐艺术提升到雅俗的理论高度加以总结和认识,对于具体器乐艺术的自身特征及其发展道路可以获得一个较为宏观的理性的认识。因此,从具体乐器角度来考察其雅俗特征及内涵,不仅有助于认识中国音乐与文化的关联性,而且对民族器乐艺术的发展道路以及对雅俗文化的加深理解,都有一定的理论和实践意义。 本文将琴筝音乐作雅俗的定性和比较研究,旨在较全面研究琴筝音乐及其文化内涵的差异性,由此更理性地把握琴筝音乐的自身特征,并且更加深入地理解雅俗音乐文化的内涵。 全文先分四章从形制、曲目及文献积累的历史演进情况、运用主体与场合、音乐审美特征以及流派风格特征等角度作多侧面的比较研究,以此论证琴筝音乐雅俗分野的客观存在,并论述了这些差异的背景成因。接着用专章进一步考察琴筝音乐的差异性所体现的雅俗文化内涵,从雅俗文化的高度作思考并得出了一些新认识:雅与俗是一个相当普遍的文化现象,它不但体现于中国的声乐体裁或其它大型音乐形式,也体现于具体的器乐甚至两件同类乐器之中;雅俗音乐文化各有价值,互有长短,各有其受众,不能非此扬彼。琴乐所走的是雅文化道路:比较强调固守传统本色,偏爱表现深远、含蓄、内敛、稳重等审美情趣,更适应上层社会人士的审美趣味;筝乐所走的是俗文化道路:更强调变化及与时俱进,偏爱表现明快、灵动、华丽、活泼等审美情趣,更适应广大群众的审美趣味。当代民族器乐的新发展,应该在关照具体乐器自身特征和文化内涵的基础上进行,才能收到好的效果。 琴筝音乐雅俗之路的比较研究,可使我们更清楚地认识两件乐器的艺术特色和功能,使有关创作、欣赏和研究工作发挥出更好的效应,推动这两件古老而常新的乐器在当代的发展。
[Abstract]:The distinction between elegance and vulgarity of Chinese music existed as early as 2000 years ago, such as "Yale, Zheng Sheng" in the Spring and Autumn and warring States period, and "Yang Chunbai Xue" and "Xialiba people" in the capital of Chu, until the distinction of "elegant part, flower department" of opera music in Qing Dynasty. However, most of them are classified from the level of vocal music, and the distinction and exposition of national musical instruments, especially similar musical instruments, from the angle of elegance and vulgarity, has not yet begun in the Chinese music academic circles. The study on the characteristics of Chinese musical instruments' elegant and vulgar attributes can not only put the abstract concept of elegance and vulgarity into concrete musical instrument forms, but also more directly understand the expressive form and formation reasons of elegant and vulgar music; at the same time, We can also promote the specific instrumental music art to the theoretical height of elegance and vulgarity to sum up and understand the characteristics of the specific instrumental music art and its development path can obtain a more macroscopic rational understanding. Therefore, it is helpful not only to understand the relationship between Chinese music and culture, but also to develop the art of national instrumental music and to deepen the understanding of the refined and vulgar culture by examining its characteristics and connotations from the point of view of specific musical instruments. All have certain theoretical and practical significance. In this paper, the author makes a qualitative and comparative study of Qin Zheng music as elegance and customs, in order to study the differences of Qin Zheng music and its cultural connotations in an all-round way, so as to grasp the characteristics of Qin Zheng music more rationally. And understand more deeply the connotation of elegant and vulgar music culture. The full text is divided into four chapters first from the shape, track and literature accumulation of historical evolution, using the subject and occasion, music aesthetic characteristics and genre style characteristics to make a multi-sided comparative study. In this paper, the objective existence of the distinction between musical elegance and vulgarity of Qin Zheng is demonstrated, and the background causes of these differences are discussed. Then it makes a further study of the connotation of elegant and vulgar culture embodied in the difference of Qin Zheng's music with a special chapter. From the height of elegant and vulgar culture, it gives some new ideas: elegance and vulgarity are quite a common cultural phenomenon. It is not only embodied in Chinese vocal music genre or other large-scale music forms, but also in specific instrumental music or even two similar instruments. Piano music takes the road of elegant culture: it emphasizes sticking to the traditional nature, favoring profound, implicit, introverted, stable and other aesthetic tastes, more suitable for the aesthetic taste of the upper social personage; Zheng music takes the path of vulgar culture: more emphasis on change and advance with the times, prefer to express bright, smart, gorgeous, lively and other aesthetic interests, more suitable for the masses of aesthetic taste. The new development of contemporary national instrumental music should be based on the consideration of its own characteristics and cultural connotations in order to achieve good results. The comparative study of the road of musical elegance and vulgarity of Qin Zheng music can help us to understand more clearly the artistic characteristics and functions of the two musical instruments, and make the work of creation, appreciation and research play a better role. To promote the development of these two old and often new instruments in the contemporary era.
【学位授予单位】：南京师范大学
【学位级别】：硕士
【学位授予年份】：2005
【分类号】：J632.3
本文编号：2170546
[Abstract]:The distinction between elegance and vulgarity of Chinese music existed as early as 2000 years ago, such as "Yale, Zheng Sheng" in the Spring and Autumn and warring States period, and "Yang Chunbai Xue" and "Xialiba people" in the capital of Chu, until the distinction of "elegant part, flower department" of opera music in Qing Dynasty. However, most of them are classified from the level of vocal music, and the distinction and exposition of national musical instruments, especially similar musical instruments, from the angle of elegance and vulgarity, has not yet begun in the Chinese music academic circles. The study on the characteristics of Chinese musical instruments' elegant and vulgar attributes can not only put the abstract concept of elegance and vulgarity into concrete musical instrument forms, but also more directly understand the expressive form and formation reasons of elegant and vulgar music; at the same time, We can also promote the specific instrumental music art to the theoretical height of elegance and vulgarity to sum up and understand the characteristics of the specific instrumental music art and its development path can obtain a more macroscopic rational understanding. Therefore, it is helpful not only to understand the relationship between Chinese music and culture, but also to develop the art of national instrumental music and to deepen the understanding of the refined and vulgar culture by examining its characteristics and connotations from the point of view of specific musical instruments. All have certain theoretical and practical significance. In this paper, the author makes a qualitative and comparative study of Qin Zheng music as elegance and customs, in order to study the differences of Qin Zheng music and its cultural connotations in an all-round way, so as to grasp the characteristics of Qin Zheng music more rationally. And understand more deeply the connotation of elegant and vulgar music culture. The full text is divided into four chapters first from the shape, track and literature accumulation of historical evolution, using the subject and occasion, music aesthetic characteristics and genre style characteristics to make a multi-sided comparative study. In this paper, the objective existence of the distinction between musical elegance and vulgarity of Qin Zheng is demonstrated, and the background causes of these differences are discussed. Then it makes a further study of the connotation of elegant and vulgar culture embodied in the difference of Qin Zheng's music with a special chapter. From the height of elegant and vulgar culture, it gives some new ideas: elegance and vulgarity are quite a common cultural phenomenon. It is not only embodied in Chinese vocal music genre or other large-scale music forms, but also in specific instrumental music or even two similar instruments. Piano music takes the road of elegant culture: it emphasizes sticking to the traditional nature, favoring profound, implicit, introverted, stable and other aesthetic tastes, more suitable for the aesthetic taste of the upper social personage; Zheng music takes the path of vulgar culture: more emphasis on change and advance with the times, prefer to express bright, smart, gorgeous, lively and other aesthetic interests, more suitable for the masses of aesthetic taste. The new development of contemporary national instrumental music should be based on the consideration of its own characteristics and cultural connotations in order to achieve good results. The comparative study of the road of musical elegance and vulgarity of Qin Zheng music can help us to understand more clearly the artistic characteristics and functions of the two musical instruments, and make the work of creation, appreciation and research play a better role. To promote the development of these two old and often new instruments in the contemporary era.
【学位授予单位】：南京师范大学
【学位级别】：硕士
【学位授予年份】：2005
【分类号】：J632.3
【引证文献】
相关硕士学位论文 前1条
1 杨凡;当代古筝演奏技法的传承与发展[D];福建师范大学;2007年
，本文编号：2170546
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