【作者】 王英睿；

【导师】 田青；

【作者基本信息】 中国艺术研究院 ， 音乐学， 2007， 博士

【摘要】 首章，20世纪初～1948年，筝乐艺术主要在各地民间及大城市的文艺社团中传承并得以交流发展，曲目以传统乐曲为主体，反映着各地音乐的特色及多样性。这些曲目的流传主要依靠民间的传承方式——即弹筝人“口传心授”的方法来维系。第二章，1949年～1965年，新中国成立后，筝乐艺术蓬勃发展，并开始了在音乐院校中传承的新阶段。各个流派的代表人物受聘到全国各地音乐院校，他们在对传统曲目进行大力的挖掘、整理工作的同时，创作了一批充满民族特色兼具时代特征的的作品。第三章，1966年～1976年，文革期间，筝在民族器乐中的地位大大提升，筝乐创作获得了意外收获，无论从作品数量还是演奏技法上都达到了一个相当的高度。第四章1977年～1986年，筝乐创作从题材到体裁呈现多元格局，涌现出独奏、重奏、协奏等形式多样的作品，并显现出“现代派”的一些痕迹。第五章1978年～1999年，高等专业音乐教育空前繁荣，为我国专业筝乐艺术培养出大批优秀人才。筝乐作品运用了全新的音乐语言、创作思维和演奏手法，对以往传统筝乐做出了很大的革新，体现出了作曲家们的“新潮”创作意识，因而称之为“新筝乐”。末章，结论及展望。更多还原

【Abstract】 In the first chapter, Zheng zither music art, passed on and inherited, exchanged and developed in folk and large city literature and art organizations in every place, mainly of traditional music, reflected the local music features and varieties. In the second chapter, Zheng zither music art grew vigorously and entered into a new stage passed on and inherited in musical academy after the new People’s Republic of China was set up. The representative figures, engaged by musical academies all over the country, created a batch of opuses full of national features and epochal characters when they taped and sorted out and selected the traditional music. In the third chapter, the status of Zheng zither was promoted in national musical instrument and the Zheng zither music creation obtained unexpected rewarding during the Cultural Revolution. No matter opus quantity than performance skill and technique reached a quite high level. In the fourth chapter, Zheng zither music creation presented multi-style. Solo, ensemble, concerto, and so on came to the core, which appeared some "modernist" vestiges. In the fifth chapter, composers renovated the traditional Zheng zither music to a great degree and used totally new music languages, creation thoughts, and performance skill which showed their "fashion creation mentality" to create Zheng zither music opuses that called "new Zheng zither music". In the last chapter, conclusions and prospects were presented.更多还原