音调是可以独立审美的——辛亥革命时期学堂乐歌的启示
发布时间：2018-08-09 07:04
【摘要】：近代中国音乐自学堂乐歌勃兴始。辛亥革命时期的学堂乐歌大都是选用外来音调加以填词,注重的是音调的情绪和意境,不论外来歌词表达的政治立场和社会情绪,表现出在音调上独立审美、追求"自由美"的倾向。这种现象其后也极为普遍。显然,音调是可以游离文本内容而独立审美的。由于历史的原因,美育在中国没能生根发芽,音调从属于概念,成为"附属美",在很多情况下沦为工具,直至在文革中发生对无标题音乐大肆挞伐的闹剧。承认音调是可以独立审美的,是美育在音乐领域里的具体体现。音调是可以独立审美的命题并非强调音调一定要独立审美,要尊重每个人根据自己的阅历和教养寻找并自由地享用"这一个";要防止的是利用公权力强行推广与美育格格不入的"颜色文艺"。
[Abstract]:Modern Chinese music began to flourish in school. In the period of the 1911 Revolution, most of the school songs were filled with foreign tones, paying attention to the mood and artistic conception of the tones, regardless of the political stand and social emotion expressed by the foreign lyrics, showing an independent aesthetic in tone. The tendency to pursue the beauty of freedom. This phenomenon has been extremely common since then. Obviously, the tone can be dissociated from the text content and independently aesthetic. Due to historical reasons, aesthetic education failed to take root and sprout in China, and the tone was subordinate to the concept and became a "subordinate beauty". In many cases, it became a tool until a farce about uncaptioned music took place during the Cultural Revolution. The recognition that tone can be independently aesthetic is a concrete embodiment of aesthetic education in the field of music. The proposition that tone is an independent aesthetic does not emphasize that tone must be independently aesthetically appreciated. Everyone should be respected to seek and freely enjoy "this one" according to their own experience and upbringing, and to prevent the use of public power to force the promotion of "color art" which is incompatible with aesthetic education.
【作者单位】： 武汉音乐学院学报;
【分类号】：J609.2
本文编号：2173287
[Abstract]:Modern Chinese music began to flourish in school. In the period of the 1911 Revolution, most of the school songs were filled with foreign tones, paying attention to the mood and artistic conception of the tones, regardless of the political stand and social emotion expressed by the foreign lyrics, showing an independent aesthetic in tone. The tendency to pursue the beauty of freedom. This phenomenon has been extremely common since then. Obviously, the tone can be dissociated from the text content and independently aesthetic. Due to historical reasons, aesthetic education failed to take root and sprout in China, and the tone was subordinate to the concept and became a "subordinate beauty". In many cases, it became a tool until a farce about uncaptioned music took place during the Cultural Revolution. The recognition that tone can be independently aesthetic is a concrete embodiment of aesthetic education in the field of music. The proposition that tone is an independent aesthetic does not emphasize that tone must be independently aesthetically appreciated. Everyone should be respected to seek and freely enjoy "this one" according to their own experience and upbringing, and to prevent the use of public power to force the promotion of "color art" which is incompatible with aesthetic education.
【作者单位】： 武汉音乐学院学报;
【分类号】：J609.2
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