“文革”后期“录音录像组”工作研究

发布时间：2018-06-04 04:20

本文选题：“文革”后期 + “录音录像组”　；参考：《中央音乐学院》2011年硕士论文

【摘要】：本文以1974年底至1976年间,“国务院录音录像工作组”所做的具体工作为研究对象,通过对参与此项工作的人员及其工作内容的考察,回顾在“文革”后期,以“特殊方式”对中国传统音乐进行的秘密的“抢救”工作。在论题的研究过程中,本文综合采用了社会调查的方法、运用历史学的研究视角及音乐学的分析方法。在资料挖掘方面：笔者通过人物访谈、史料及音响搜集,不断寻找新的研究点,并尝试做了较为深层次的分析与研究。本文重点要研究的是“文革”后期的“录音录像工作”在当时的特殊性、重要程度及在新时期下重新审视之后的特殊意义。通过对“文革”后期这段特殊历史的研究,将一度封存的历史信息、音乐史资料收集起来,进而对“文革音乐史”做更深入的发掘。笔者以为“录音录像组”虽然在当时是为个别的中央领导人服务,但客观上还是保存了部分珍贵的传统戏曲曲艺的录音录像,也有了使多数艺术家们重返舞台的机会。全文共分四部分。第一章“古典诗词歌曲的编配及录音”讲述了在“文革”这样一个特殊的历史时期,在诸多有利的条件面前,古典诗词是如何转化为声像的,在发掘其历史价值的同时也在探索着其在艺术方面的价值：第二章“京剧唱腔器乐化的演奏录音”是根据毛泽东喜好京剧的特点,以京剧唱腔进行器乐化改编和演奏录音来展开的工作；第三章“传统戏曲、曲艺的录音及戏曲剧目的拍摄”不仅保留了优秀的传统剧目,记录了众多演员们的精彩表演,也在一定程度上保护了当时许多被戴上“文艺黑线任务”帽子,或已被迫改行从事其它工作的艺术家们。最后在结语中,本文将总结笔者对“文革”后期“录音录像组”的政治色彩、工作意义的理解,并引发出对“录音录像组”所做工作进行更进一步挖掘和整理的思考,力求对“文革”后期“录音录像组”的工作做以客观公允的历史评价。
[Abstract]:This paper takes the specific work done by the State Council Audio and Video working Group from the end of 1974 to 1976 as the object of study. Through the investigation of the personnel involved in the work and the contents of their work, this paper reviews the later period of the "Cultural Revolution". The secret "rescue" of Chinese traditional music in a special way. In the course of research, this paper adopts the method of social investigation, the perspective of history and the method of analysis of musicology. In the aspect of data mining, the author tries to find new research points through character interview, historical data and sound collection, and tries to do deeper analysis and research. This paper focuses on the particularity, importance and special significance of the work of audio and video recording in the later period of the Cultural Revolution. Through the study of the special history in the late period of the Cultural Revolution, the historical information and music history materials which were once sealed up were collected, and the musical history of the Cultural Revolution was further explored. The author thinks that although the "audio and video group" served for individual central leaders at that time, it objectively preserved some precious audio and video recordings of traditional opera, and also had the opportunity for most artists to return to the stage. The full text is divided into four parts. The first chapter, "the arrangement and recording of Classical Poems and songs", tells how classical poetry and ci have been transformed into sound and image in the face of many favorable conditions in the special historical period of the Cultural Revolution. While unearthing its historical value, it is also exploring its artistic value: chapter two, "Beijing Opera instrumental recording", is based on the characteristics of Mao Zedong's preference for Beijing Opera. In the third chapter, "recording of traditional operas, quyi and filming of opera repertoire" not only retains excellent traditional repertoire, but also records the wonderful performances of many actors. It also protected to some extent many artists who had been labelled "literary and artistic black lines" or who had been forced to switch to other jobs. Finally, in the conclusion, this paper will summarize the author's understanding of the political color and the working significance of the audio and video group in the later period of the Cultural Revolution, and lead to further research and arrangement of the work done by the "audio and video group". This paper tries to make an objective and fair historical evaluation of the work of the Audio and Video recording Group in the late period of the Cultural Revolution.
【学位授予单位】：中央音乐学院
【学位级别】：硕士
【学位授予年份】：2011
【分类号】：J821

【参考文献】