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用民族音乐学的理论视角解读中国近代“救亡音乐”现象,以民族音乐学者梅里亚姆的思路切入,重在分析该种音乐生存的文化环境,包括政治背景、社会思潮、文艺政策等因素的影响;同时将该类音乐事象本身作为文化来研究,尤其是最能体现文化属性的“救亡音乐思潮”;运用梅里亚姆提出的“概念”、“行为”、“音响”之三分模式来解释“救亡音乐”现象,可以更清晰地认识到该类音乐的生存变异规律和民族文化特质。
Interpreting the phenomenon of “Salvation Music” in modern China from the theoretical perspective of ethnomusicology, with the idea of national music smelter Merial, and focusing on analyzing the cultural environment in which such music lives, including political background, social trend of thought, literary and art policy Factors of influence; at the same time, this type of music phenomenon itself as a culture to study, especially the most embody the cultural attributes “Salvation Music ” thought; “Merriam proposed ” concept “, ” behavior “Sound ” three modes to explain “salvation music ” phenomenon, you can more clearly recognize the variation of the law of such music and national culture characteristics.