20世纪上半叶中国音乐思潮研究
发布时间：2018-08-22 13:04
【摘要】：本文是对20世纪上半叶中国音乐思潮的考察与研究。 20世纪上半叶,中国音乐文化发生了深刻的变化,这种变化是从西方音乐传入、新的音乐思潮的发生开始的。20世纪初,西乐东渐与一部分新式知识分子对西方音乐的学习与接受,使得“学习西乐思潮”迅速崛起,学堂乐歌的兴起,是这一思潮的鲜明体现与具体成果;同时,启蒙与救亡的社会思潮也促成了“音乐启民思潮”的形成。世纪之初兴起的这两股音乐新思潮,对20世纪上半叶中国音乐文化的发展产生了极为重要的影响。此后,20～40年代间,“音乐美育思潮”、“国粹主义音乐思潮”、“国乐改进思潮”以及“救亡音乐思潮”陆续登上中国音乐的历史舞台,而“学习西乐思潮”则自“五四”后一直呈现出全面而深入发展的态势,是贯穿整个20世纪上半叶最具影响的音乐思潮。 音乐美育思潮萌芽于学堂乐歌早期,在“五四”后获得较大发展,为中国早期音乐教育的发展、社会音乐生活的丰富以及新音乐的初创,发挥了积极而有力的推动作用。国粹主义音乐思潮发端于学堂乐歌中、后期,形成于“五四”新文化运动时期,是在学习西乐思潮逐步走向深入的背景下而迅速崛起的,反映了一部分中国人热爱传统音乐文化而又拒绝接受西乐影响的“国粹”情怀与矛盾心理。30年代初期救亡音乐思潮的兴起,促使音乐美育思潮逐渐走向式微;抗战全面爆发后,国粹主义音乐思潮也迅速走向衰落。20年代形成的国乐改进思潮则与学习西乐思潮一样,主张学习、借鉴西方音乐的理论与创作技术,改造中国旧有国乐、创造中国新国乐,走中西融合的音乐发展之路。所不同的是,学习西乐思潮主张以西方音乐的形式与技术作为中国新音乐的创作基础,而国乐改进思潮则是主张以旧有国乐的素材作为新国乐的创作基础。这是两种不同的中西音乐交融观,都对中国新音乐的建设作出了有益的探索与重要贡献。“九·一八”事变后兴起的救亡音乐思潮,是20世纪上半叶最激动人心的一股音乐思潮,它是中国人民反抗日本帝国主义侵略、为民族解放而斗争的伟大意志在音乐上的反映。这一思潮下成长起来的新音乐运动,以及此间形成的新音乐思想及其创作,成为救亡音乐思潮中最重要的组成部分,并在40年代末逐渐发展为占据主流与权威地位的权力话语,其中既有不可磨灭的历史贡献,也为建国后新音乐的发展带来了很大的消极影响。 20世纪上半叶的中国音乐思潮,无不与“新音乐”的发展密切相关,同时也是音乐上的中西关系、古今关系、雅俗关系和主附关系等主要矛盾关系的集中体现。这些矛盾关系同样在不同程度上贯穿了20世纪下半叶中国音乐的发展历程,因而,考察与研究20世纪上半叶中国音乐思潮的发展及其特点,不仅可以使我们更为全面地认识这一时期中国音乐的根本性质与总体特征,也有助于我们能够更为清醒地审视整个20世纪中国音乐所走过的风雨历程,更为深刻地理解20世纪中国音乐文化发展中的诸多深层问题。 深入地了解历史,深刻地理解历史,在历史的回顾中学习历史,在时代的发展中超越历史,是一切历史研究,包括本文在内的根本目的。
[Abstract]:This article is an investigation and study of the trend of Chinese music in the first half of the twentieth Century.
In the first half of the 20th century, profound changes took place in Chinese music culture, which began with the introduction of western music and the emergence of new music trends. At the beginning of the 20th century, these two new trends of thought in music had a very important impact on the development of Chinese music culture in the first half of the 20th century. The quintessential trend of thought in music, the trend of thought in improving traditional Chinese music and the trend of thought in saving the nation from extinction have stepped onto the historical stage of Chinese music.
The trend of music aesthetic education sprouted in the early stage of school music and songs, and developed greatly after the May 4th Movement. It played a positive and powerful role in promoting the development of music education in early China, the enrichment of social music life and the creation of new music. The trend of Chinese quintessence music originated in school music and songs, and formed in the late May 4th New Culture. In the period of the movement, the trend of western music thought was gradually deepened and rose rapidly, reflecting the "quintessence" and contradictory mentality of some Chinese people who loved traditional music culture but refused to accept the influence of Western music. In the 1920s, the trend of thought of improving Chinese music, like that of learning western music, advocated learning, drawing on the theories and creative techniques of Western music, reforming old Chinese music, creating new Chinese music, and taking the road of music development with the integration of China and the West. It advocates taking the form and technique of western music as the basis of Chinese new music creation, while the trend of thought of improving Chinese music advocates taking the material of old Chinese music as the basis of new Chinese music creation. The rising trend of thought of national salvation music in the first half of the 20th century is the most exciting trend of thought in music. It reflects the great will of the Chinese people to resist Japanese imperialist aggression and struggle for national liberation. In the late 1940s, it gradually developed into a power discourse which occupied the mainstream and authoritative position. It has not only an indelible historical contribution, but also a great negative impact on the development of new music after the founding of the People's Republic.
The trend of Chinese music thought in the first half of the 20th century was closely related to the development of "new music", and it was also a concentrated reflection of the main contradictions in music, such as the relationship between China and the West, the relationship between ancient and modern times, the relationship between elegance and popularity, and the relationship between subordination and subordination. By investigating and studying the development and characteristics of Chinese music ideological trend in the first half of the 20th century, we can not only have a more comprehensive understanding of the fundamental nature and general characteristics of Chinese music in this period, but also help us to have a clearer look at the ups and downs of Chinese music in the whole 20th century and a deeper understanding of the 20th century. Many deep problems in the development of Chinese music culture.
It is the fundamental purpose of all historical studies, including this paper, to have a thorough understanding of history, to study history in the retrospect of history, and to transcend history in the development of the times.
【学位授予单位】：中国艺术研究院
【学位级别】：博士
【学位授予年份】：2005
【分类号】：J609.2
[Abstract]:This article is an investigation and study of the trend of Chinese music in the first half of the twentieth Century.
In the first half of the 20th century, profound changes took place in Chinese music culture, which began with the introduction of western music and the emergence of new music trends. At the beginning of the 20th century, these two new trends of thought in music had a very important impact on the development of Chinese music culture in the first half of the 20th century. The quintessential trend of thought in music, the trend of thought in improving traditional Chinese music and the trend of thought in saving the nation from extinction have stepped onto the historical stage of Chinese music.
The trend of music aesthetic education sprouted in the early stage of school music and songs, and developed greatly after the May 4th Movement. It played a positive and powerful role in promoting the development of music education in early China, the enrichment of social music life and the creation of new music. The trend of Chinese quintessence music originated in school music and songs, and formed in the late May 4th New Culture. In the period of the movement, the trend of western music thought was gradually deepened and rose rapidly, reflecting the "quintessence" and contradictory mentality of some Chinese people who loved traditional music culture but refused to accept the influence of Western music. In the 1920s, the trend of thought of improving Chinese music, like that of learning western music, advocated learning, drawing on the theories and creative techniques of Western music, reforming old Chinese music, creating new Chinese music, and taking the road of music development with the integration of China and the West. It advocates taking the form and technique of western music as the basis of Chinese new music creation, while the trend of thought of improving Chinese music advocates taking the material of old Chinese music as the basis of new Chinese music creation. The rising trend of thought of national salvation music in the first half of the 20th century is the most exciting trend of thought in music. It reflects the great will of the Chinese people to resist Japanese imperialist aggression and struggle for national liberation. In the late 1940s, it gradually developed into a power discourse which occupied the mainstream and authoritative position. It has not only an indelible historical contribution, but also a great negative impact on the development of new music after the founding of the People's Republic.
The trend of Chinese music thought in the first half of the 20th century was closely related to the development of "new music", and it was also a concentrated reflection of the main contradictions in music, such as the relationship between China and the West, the relationship between ancient and modern times, the relationship between elegance and popularity, and the relationship between subordination and subordination. By investigating and studying the development and characteristics of Chinese music ideological trend in the first half of the 20th century, we can not only have a more comprehensive understanding of the fundamental nature and general characteristics of Chinese music in this period, but also help us to have a clearer look at the ups and downs of Chinese music in the whole 20th century and a deeper understanding of the 20th century. Many deep problems in the development of Chinese music culture.
It is the fundamental purpose of all historical studies, including this paper, to have a thorough understanding of history, to study history in the retrospect of history, and to transcend history in the development of the times.
【学位授予单位】：中国艺术研究院
【学位级别】：博士
【学位授予年份】：2005
【分类号】：J609.2
【引证文献】
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9 周慧U，
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