20世纪50年代中苏音乐交流概况

发布时间：2018-04-23 04:30

  本文选题：社会学 + 中苏音乐交流　； 参考：《当代音乐》2016年04期

【摘要】：从20世纪初的"学堂乐歌"、三四十年代的"抗日救亡歌曲"到50年代的"以苏为师"及80年代改革开放后引入"多元音乐文化",20世纪中国音乐历史中的四次大规模"西乐东渐"浪潮,唯有"50年代的中苏音乐交流"以其高度的政治性、体系性和群众性而独具特色。这一时期,我国在音乐教育、音乐创作、音乐表演、音乐理论等各方面学习、借鉴苏联经验,苏联的音乐文化模式以近乎"移植"的方式引入中国并被广泛接受。鉴于这种文化模式的"引入与接受"从其发轫之初就与社会制度和意识形态密切关联。所以本文以社会学理论为支撑,透过"社会学之眼"回顾典型事例,解读"中苏音乐交流"的社会动因和历史意义。
[Abstract]:From "School Music" in the early 20th century, "Song of resisting Japan and saving the country" in the 1930s and 40s to "taking the Soviet Union as a teacher" in the 1950s and introducing "multi-musical culture" after the reform and opening up in the 1980s, the four major rules in the history of Chinese music in the 20th century have been introduced. Model "the tide of" the East and the West ", Only the music exchange between China and the Soviet Union in the 1950 s was characterized by its high political, systematic and mass character. During this period, our country studied in music education, music creation, music performance, music theory and so on, and drew lessons from the experience of Soviet Union. The Soviet music culture model was introduced into China in the way of "transplantation" and was widely accepted. The introduction and acceptance of this cultural model has been closely related to social system and ideology since its inception. Therefore, based on the theory of sociology, through the review of typical examples in the Eye of Sociology, this paper interprets the social motivation and historical significance of the musical exchange between China and the Soviet Union.
【作者单位】： 中国音乐学院博士后科研流动站;哈尔滨音乐学院;
【基金】：教育部人文社科青年基金项目(13YJC760049)
【分类号】：J609.1
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本文编号：1790473