节点文献
物语新声 丝竹相和
【作者】 钱建明；
【导师】 伍国栋；
【作者基本信息】 南京艺术学院 ， 音乐学， 2010， 博士
【副题名】专业民族乐队建制考察研究（1950～2005）
【摘要】 专业民族乐队建制,在中国大陆已经生存和发展了半个多世纪,在海外华人地区也有较广泛的影响。与此同时,有关这一乐队模式的文化属性与本体价值,长期困扰和制约着这一器乐形式的创作与理论探索。本文以民族音乐学学科“田野考察”为基本方法,综合并借用社会学科的理论,将京、沪、鲁三地相关民族乐团(队)作为考察对象,结合中国传统乐队演变与相关地区民间器乐文化流布的关系,对1950年以来大陆地区专业民族乐队建制形成与发展,进行多层面、多角度的系统性考察研究,旨在通过相关个案考察,梳理其渊源、形态、生存、发展等诸方面状况,探索这一特定器乐形式利用所处地区民间器乐传统与外来乐队经验的结合,形成自身创作表演规律的过程。本文共分六章:第一章重点回顾中国传统乐队、南北方民间器乐文化的演变;第二章通过京、沪、鲁三地个案考察,探讨中华人民共和国成立后,专业民族乐队建制形成与社会主流文化发展的关系;第三章通过相关个案乐器改革实践与外来乐队经验影响的经验,探索其顺应时代需要,体现主流文化诉求的过程,以及其中的得失;第四章从专业民族乐队建制趋同的过程与状况入手,对这一基础上出现的民族管弦乐创作特点进行较深入分析;第五章通过探讨“彭修文模式”的构成与影响,对新时期以来专业民族乐队建制的生存与发展进行梳理与评价;第六章从专业民族乐队建制同根同源的历史与现实角度,对当今海内外相关乐队模式的“跨界”融合与互相促进的现状,进行总体上的对比与评价,并肯定大陆专业民族乐队建制在其中的积极而又重要的重用。通过本选题研究,本文认为,专业民族乐队建制的形成与发展,是大陆主流文化发展在不同阶段的综合体现之一。其主体构成,不仅与我国南北方一些传统乐器原理、乐种形态紧密联系,而且在多声部组合、音响结构,以及创作手法等方面,充分体现出与西方管弦乐队的融合与互动特点。因而,就大陆专业民族乐队建制探索对此前“国乐合奏”经验的承继与沿革来看,中华人民共和国成立以后,一些专业民族乐团(队)努力挖掘各地传统文化资源,打破人为划定的行政区划系统,尽可能从区域文化繁衍与主流文化结合的层面上,获取所需养分,促进自身发展,其成就和经验是主要的、不可忽视的。与此同时,半个多世纪以来,大陆专业民族乐队建制发展留给我们的反思也是多方面的:“剧场艺术”实践证明,通过借鉴和汲取西方管弦乐队原理而发展起来的专业民族乐队建制,较之民间流传的一些乐种形式,固然在音响结构、舞台审美等方面具有较为稳定和协调的现代都市文化品质,其本体构成亦可以看作是我国传统乐队在一定文化生态下,不断延续和超越自身内涵与外延的一种阶段性成果,但由于种种原因,大陆专业民族乐队建制的生存与发展,当前依然处于困境之中。故此,笔者对这一乐队形式的生存与发展所提出的自己的思路与建设性意见,当有利于审视和检讨这一乐队模式之得失,对于大陆其他相关民族器乐形式的研究,也具有一定的参考和借鉴意义。
【Abstract】 The form of professional Chinese traditional orchestra (PCTO) has existed and developed for more than half century in Chinese mainland and has broad influence among oversea Chinese. Combining with the relationship between the evolution of PCTO and the cultural of folk music instruments, the author of the thesis inspects the concerned PCTOs of Beijing, Shanghai and Shandong province, and makes a scientific research on the formation and development of PCTO in Chinese mainland since 1950. Up to now, the selection of the researche is brandnew.The thesis consists of six chapters. The first chapter focuses on the recall of the evolution of PCTO and folk music instruments cultural in south and north China,;The second chapter explores the relationship between the formation and development of PCTO and social main cultural after the founding of the People’s Republic of China.;The third chapter explores the process, gain and loss based on the reform of music instruments and the influence of western orchestra in development of PCTO,;The fourth chapter analyses the characteristic of composition of PCTO.;The fifth chapter appraises the existence and development of PCTO in the brandnew phase by exploring the formation and influence of“Peng Xiuwen pattern”.;The sixth chapter gives the overall comparison and assessment to the combination and mutual promotion of global various orchestras and at the same time, the chapter affirms the active and important role played by the PCTO of Chinese mainland.Through the study of the topic, the author realizes: the“theatrical art”of more than half century proves that the PCTO built up on the principles of western orchestra possesses stable and harmonic cultural character of comtemporary city comparing with the folk music instruments in sound, theatrical aesthetics et cetera. The structure of the PCTO can be regarded as a transitional result in the procedure of self-transcendence under the influence of various cultures. With some reasons, the existence and development of the organizational system of the PCTO in Chinese mainland is still in an awkward predicament. So, the author puts forward his own thought and constructional opinion after making a“spot investigation”on the existence and development of the PCTO, witch will be beneficial to the examination of the gain and loss of the PCTO’s pattern and will have a certern kind of bearing to the research of the form of other musical instruments in Chinese mainland.