【作者】 陆小璐；

【导师】 乔建中；

【作者基本信息】 上海音乐学院 ， 音乐学， 2013， 博士

【摘要】 “秦派民乐”是二十世纪下半叶,也就是新中国成立后,在中国陕西省形成的一种创作现象,它的表现是,有一批民乐演奏家与专业作曲家投身于民族器乐音乐领域,创作了大量以陕西民间音乐为素材或以陕西风格为取向的民族器乐作品。并通过长期积累,逐渐在一些领域形成了民族器乐的地方派别,如“秦派二胡”、“陕西筝派”,在全国产生重要影响。60余年的发展历程,使这一地区的专业民族器乐创作从无到繁荣,再到“立派”的发展态势,在建国后的中国其它区域的专业民族器乐音乐领域中是鲜见的。由此开启了笔者对它的研究。对“秦派民乐”笔者采用的是以“区域音乐文化研究”为理论取向的研究视角。从“区域”、“时代”、“人”、“音乐作品”这四个独立又彼此交汇的视野出发,关注“时代”、“区域”是如何对“人”与“音乐作品”产生作用的。并将“秦派民乐”的研究放置于中国专业音乐创作、教育、表演的宏观背景下来审视,通过“秦派民乐”与国家整体音乐发展趋势中的比较,关注“国家的在场”对其发展的影响。本文由绪论、四个章节、余论、结语构成：绪论部分主要从研究对象与研究价值、目前此领域的研究状况与本文的研究空间与理论视角、以及研究策略与方法进行了论述与探讨。第一章将聚焦于“建国17年”,与“二十世纪八十年代后”这两个对于中国民族器乐音乐发展最为关键与重要的历史时期,将“秦派民乐”放置于国家发展的大历史背景下来分析、思考它的发展历程。第二章是对二十世纪八十年代“秦派民乐”运作模式的探讨。从“秦派民乐”的发展历程看,这一阶段是“秦派”音乐家群体公认的最为辉煌的时期。通过对八十年代的社会环境、“秦派民乐”中的领军人物、学院机制下的民族器乐发展模式,这三个方面展开论述。第三章是对“秦派民乐”的创作与地域文化的关联分析。这章将分析陕西自然地理与其地域文化所孵化的民间音乐品种是如何对当代“秦派民乐”的创作产生影响的,并且在陕西如此丰富的民间音乐形态中其最核心的特质是如何在当代器乐作品中传承与延续的。第四章将以作品为主线,选取“秦派民乐”中重要的代表作品进行细致的形态分析,重点关注在这些作品中所呈现的创作方式与创作观念蕴藏着什么样的变化因素与不变因素,同时也关注于创作者的成长环境、教育背景与其创作风格的关联。余论对“秦派民乐”在进入二十世纪九十年代之后的发展变化与趋势进行了论述,揭示了后“秦派民乐”时代的来临。在结语中将进一步探讨对“秦派民乐”的研究意义,以及笔者通过聚焦于一个区域的专业民族器乐创作研究,对二十世纪以来的中国专业民族器乐创作及其研究有何新的认识?更多还原

【Abstract】 "Qin School of National Instrumental Music", a creative form of music originated from the Shaanxi province of China around the second half of20th century, which was the period immediately following the founding of the People’s Republic of China. Its manifestation included: a group of National Instrumental Musicians and professional composers devoted themselves to the field of national instrumental music and created a huge amount of national instrumental music compositions that were either based on Shaanxi folk or Shaanxi style music. As time went by, local cliques of national instrumental music were gradually formed and made significant impact nationwide. These cliques include "Qin School of Erhu" and "Shaanxi School of Zheng". With more than60years of progress, professional national instrumental music of this region went from nothing to prosperity, and eventually into forming independent cliques. Such phenomenon was quite rare in the professional national instrumental music field of other regions since the founding of the People’s Republic of China. These historical trajectories regarding "Qin School of National Instrumental Music" set the motivation of this study.This study uses the "regional music culture" approach as the theoretical optic in analysing the "Qin School of National Instrumental Music". The research starts with four inherently independent but somewhat socially overlapping dimensions:"region","time","people" and "music pieces" and focuses on how "time" and "region" have impacted "people" and "music pieces". Taking Chinese professional music creation, education, and performing arts into consideration, this study interrogates the "Qin School of National Instrumental Music" from a macroscopic view. By comparing the development trends of "Qin School of National Instrumental Music" and the music of the country as a whole, the paper tries to illustrate the influence of "the presence of the country" on the development of "Qin School of National Instrumental Music".This research paper is composed of an introduction, four chapters, conclusions, and an epilogue.The introduction starts with discussions about the research object, research value as well as the current status of the research field, research dimensions, theoretical perspectives of the research, and the research strategy.Chapter one focuses on "17years after the foundation of the country" and "late nineteen eighties", two historical periods that played a critical role in the development of Chinese national instrumental National Instrumental Music. The chapter also analyzes "Qin School of National Instrumental Music" as well as its development path under the historical background of the overall development of the country.Chapter two discusses the movement of "Qin School of National Instrumental Music" in the nineteen eighties, which is commonly considered as the most glorious period by the Qin musicians. The discussions draw upon three aspects:social environment of the80’s, leaders of "Qin School of National Instrumental Music", and the developing model of national instrumental music under the Institute mechanisms.Chapter three analyzes the relationship between the creation of "Qin School of National Instrumental Music" and regional culture. This chapter discusses how the National Instrumental Music breed, as an effect of Shaanxi natural and geographical characteristics, has impacted the creation of "Qin School of National Instrumental Music". Furthermore, it also illustrates how the core characteristics of Shaanxi National Instrumental Music is inherited and diffused in contemporary instrumental music works.Taking into concrete music compositions into account, chapter four analyzes key works that best represent the "Qin School of National Instrumental Music" in detail and pays specific attention to the changing and non-chaning factors of the creative method and concept in these works. At the same time, the study also draws attention on musicians’ personal development and education background, and how they associate to the aforementioned creative style.The study concludes with the developing trajectory and the trend of "Qin School of National Instrumental Music" after the1990s, revealing the post era of "Qin School of National Instrumental Music".The epilogue further explores the significance of the research on "Qin School of National Instrumental Music" and what new epistemic insights this stream of research bring to Chinese professional national instrumental music creation since twentieth Century through an optic on studying professional national instrumental creation.更多还原