近代“国粹主义”音乐思想产生、衍进、发展过程的研究

发布时间：2018-08-28 16:56

【摘要】：“国粹主义”和“国粹主义”音乐思潮这些名字,对于当代中国多数人的理解来说是个“贬多褒少”,并略带些讥讽、批判成分的词,在多数情况下,人们总是习惯地把它们和阻碍社会进步和发展的“复古主义”混为一谈,是顽固、僵化、落后思想的代名字。因此,长期以来正是由于这种特殊性,使得“国粹主义”者总是遭到无端的怀疑和指责,也使得对该思朝的研究难以突破,“国粹主义”者的历史地位,他们的艰辛付出,他们为民族音乐的生存和发展所取得的历史成就始终得不到社会的承认,历史的认可。百年以后的今天,当我们再度把这些被现代历史视为“顽固”、“僵化”、“愚昧”而遭到冷落和遗弃的“纸屑”重新拾掇起来,再度咏咛他们的“古毛诗,昆山曲”,聆听高扬的“《中国雅乐》”；回味“海内外同志通力合作,振兴国乐不遗余力”的呐喊,体验“采本国固有之精粹,容纳外来潮流”的精神,领略“登昆仑之巅,吹黄钟之律”的豪迈的时候,我们是那么得热血沸腾、震动不已!有一天我终于突然发现：我们的先人们在百年以前所竭力提倡的“谐和”的精神；他们在处理古、今,中、西音乐的关系上所持有“古为今用,洋为中用”的宽广胸怀；他们所崇尚的“使民族国乐与世界音乐并驾齐驱”,“作为人类一份子,仅能食西人造成之果,而不能贡献我先哲造成之果与人类,亦何面目与他国之人握手为俦哉?”的强烈的民族精神；他们赤诚的爱国之心；他们对事业的执着和奉献精神,不正是百年后今天的我们正在努力开创并积极追求的主题和目标吗?追忆我们的先辈们在近代为保存、挖掘、发展传统“国乐”所作的巨大贡献,思忖历史缺乏对他们以应有的公正、合理的评介和待遇,我萌生了想要把近代“国粹主义”音乐思潮衍进过程研究作为我硕士毕业论文,借此梳理、研究、学习的过程来表达我对我们先人缅怀、崇敬的念头。我真是深深地觉得他们值得我们认真的研究、学习。文章《近代国粹主义音乐思潮衍进过程研究》分为三个章节,第一章是“国粹主义”音乐思想兴起原因分析；第二章是“国粹主义”者的音乐思想和实践；第三章是“国粹主义”音乐思想衍进过程的特点和对中国近代音乐文化的影响,最后是文章的结语。其中第二、三章是全文论述的重点,包括思潮的萌生,思潮的形成,思潮的发展三个小节,采用对史料和文献整理、归纳、分析、比较的方法,对“国粹主义”者的思想、“国粹主义”者的音乐实践,以及他们的思想和实践所产生的影响作一个客观和理性的阐述。希冀《衍进过程研究》能在缅怀和展示“国粹主义”者对历史、对社会所作贡献的同时,也能起到一些其他的什么作用,使得社会和历史不要忘记、冷落他们。
[Abstract]:The names "quintessence" and "populist" musical thoughts are "derogatory, more highly praised" and slightly sarcastic and critical, in most cases, for most people in contemporary China. People have always been accustomed to confuse them with the "retro doctrine", which hinders social progress and development, and is the name of stubbornness, rigidity and backwardness. Therefore, for a long time, it is precisely because of this particularity that the "quintessence" has always met with unwarranted suspicion and criticism, and it has also made it difficult to break through the research on the thought of the DPRK, the historical status of the "quintessence" and their hard work. Their historical achievements for the survival and development of folk music have never been recognized by society and history. Today, a hundred years later, when we once again regard these "confetti", which are regarded by modern history as "stubborn", "rigid", "ignorant" and neglected and abandoned, we are picking up again the "ancient Mao poems, Kunshan Opera" that we have once again exhorted them. Listen to Gao Yang's "Chinese elegant Music"; recall the cry that "comrades at home and abroad work together to revitalize national music and spare no effort", experience the spirit of "adopting the essence inherent in our country and accommodating foreign trends", and appreciate the "summit of Kunlun," Blowing the Law of the Yellow Bell "when the heroic, we are so blood boiling, shaking!" One day I finally found out: our ancestors in a hundred years ago to promote the spirit of "harmony"; they handle the relationship between ancient, present, Western music, held in the "past for the present, foreign for the use of" broad mind; Their worship of "keeping national music with world music", "as a human being, can only eat the fruits of the Western people, and can not contribute to the fruit of our forefathers and human beings. What is the face of shaking hands with people from other countries?". The strong national spirit; their sincere patriotism; their dedication and dedication to the cause is not exactly the theme and goal that we are striving to create and actively pursue in a hundred years' time. Recalling the great contributions made by our forefathers in the preservation, excavation and development of traditional "national music" in modern times, and pondering that history lacks the fair and reasonable comments and treatment that history deserves for them, I began to want to study the evolution of modern "quintessence" music trend as my master's thesis, by which the process of combing, research, learning to express my thoughts of remembering and venerating our ancestors. I really feel that they are worthy of our careful study and study. This article is divided into three chapters: the first chapter is an analysis of the reasons for the rise of the music thought of "quintessence", the second chapter is the music thought and practice of the "quintessence". The third chapter is the characteristics of the evolution of music thought of "quintessence" and its influence on Chinese modern music culture. Finally, it is the conclusion of the article. The second and third chapters are the emphases of the full text, including the initiation of ideological trend, the formation of ideological trend and the development of ideological trend. The music practice of "quintessence" and the influence of their thought and practice are expounded objectively and rationally. It is hoped that the study of the process of evolution can not only remember and show the contributions made by the "quintessence" to history and society, but also play some other role, so that society and history should not forget and ignore them.
【学位授予单位】：杭州师范大学
【学位级别】：硕士
【学位授予年份】：2005
【分类号】：J609.2

【参考文献】