二十世纪的中国筝乐艺术
[Abstract]:The first chapter is from the beginning of 20th century to 1948, the art of Zheng music is mainly passed down and developed in the local folk and big cities' literature and art organizations. The repertoire takes the traditional music as the main body, reflecting the characteristics and diversity of the local music. The spread of these songs mainly depends on the folk way of inheritance-that is, play Zheng people "oral instruction" method to maintain. Chapter two, 1949 ~ 1965, after the founding of New China, the art of Zheng music flourished, and began a new stage of inheritance in music colleges. The representatives of each school were hired to music colleges and universities all over the country. They excavated the traditional music and arranged the work at the same time, they created a batch of works full of national characteristics and the characteristics of the times. Chapter three, from 1966 to 1976, during the Cultural Revolution, the position of Zheng in the national instrumental music was greatly enhanced, and the creation of Zheng music obtained an unexpected harvest, both in terms of the number of works and the playing techniques reached a considerable height. In chapter four, from 1977 to 1986, the composition of Zheng music from theme to genre presents a diversified pattern, with various forms of works, such as solos, recitals, and coproductions, and showing some traces of "modernism". Chapter five: from 1978 to 1999, the music education of higher specialty is flourishing, which trains a large number of outstanding talents for the art of professional zither music in our country. Zheng music works, using new musical language, creative thinking and performance techniques, have made great innovations to the traditional Zheng music in the past, reflecting the composers' creative consciousness of "new trend", which is called "new Zheng music". Last chapter, conclusion and prospect.
【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】:2007
【分类号】:J632.32
【相似文献】
相关期刊论文 前10条
1 汪莎;;与时俱进的古筝艺术[J];艺海;2011年07期
2 ;[J];;年期
3 ;[J];;年期
4 ;[J];;年期
5 ;[J];;年期
6 ;[J];;年期
7 ;[J];;年期
8 ;[J];;年期
9 ;[J];;年期
10 ;[J];;年期
相关重要报纸文章 前6条
1 雨天;潮州筝曲奏响星海音乐厅[N];音乐周报;2006年
2 闫林红;筝韵新声人才辈出[N];音乐周报;2001年
3 安瑞;新筝与古筝的对话[N];音乐周报;2003年
4 周延甲;今昔古筝 天壤之别[N];音乐周报;2001年
5 夏滟洲;谛听有“观”[N];音乐周报;2002年
6 柴茵;吉炜古筝音乐会在京公演[N];音乐周报;2005年
相关博士学位论文 前1条
1 王英睿;二十世纪的中国筝乐艺术[D];中国艺术研究院;2007年
相关硕士学位论文 前10条
1 雷蕾;意象中的舞者[D];南京艺术学院;2005年
2 李雅谦;建国后17年(1949.10-1966.6)的古筝独奏曲研究[D];南京艺术学院;2009年
3 阴明娟;古筝流派成因初探[D];山西大学;2006年
4 刘艺;豫、鲁、陕三个北方传统筝派比较研究[D];河南大学;2007年
5 徐子南;中华人民共和国成立六十年来北京地区古筝艺术发展回眸[D];首都师范大学;2009年
6 邓玲;论古筝演奏技法的发展与创新[D];湖南师范大学;2007年
7 谭文琳;1950年代以来的“筝改良”现象研究[D];武汉音乐学院;2008年
8 王燕;当代筝乐的发展及其表现特点[D];南京艺术学院;2008年
9 赵岚;建国初期古筝音乐研究[D];上海音乐学院;2009年
10 蔡丹丹;山东筝派与河南筝派的比较研究[D];吉林艺术学院;2011年
本文编号:2151983
本文链接:https://www.wllwen.com/wenyilunwen/yinyuetheory/2151983.html