【作者】 萧舒文；

【导师】 张振涛；

【作者基本信息】 中国艺术研究院 ， 音乐学， 2010， 博士

【摘要】 绪论是对本文研究对象的取域：从型制上划定研究范围,就历史沿革来厘清乐器起源、类属等问题；对20世纪前人已有的研究成果进行综述。前四章陈述20世纪中国笛乐发展。第一章记述20世纪初期笛子在各地民间音乐中担当的比重不同角色。长期以来,大多数演奏者,或是自娱自乐,或是在乐队中身兼数职,皆因其草根本色而分散于各地未被载入史册。自“新音乐”在中国萌发,笛子也加入弄波风潮,逐渐成为舞台艺术的一员。第二章探讨1953-1965年的情况。1953年冯子存参加“全国音乐舞蹈会演”,成为笛乐舞台独奏先锋,笛乐也因此在表演形式、表演者社会地位、创作模式等方面脱胎换骨,产生一批以民间音乐为依托的作品与表演者。1956年“全国音乐周”笛曲《早晨》问世,象征着南北笛乐分驰并存在同一首乐曲中,地域风格界线逐渐消弭。紧随而起的大量笛曲与专业演奏者,受音乐院校教育影响,在演奏与创作上逐渐脱离了与地方风格紧密联系状态,融入作曲意识。为满足不同类型乐曲的演奏需求,乐器改良成为此时期的热点。此阶段笛乐朝“专业化”、“科学化”、“系统化”方向发展。不容忽视的是,“国家在场”意识的与19世纪以来的“西乐东渐”,对时代观念、行为,皆有强大的主导作用。第三章着重于对文化大革命时期笛乐的探讨,时间从1966-1976年。吹奏朗朗上口的红色歌曲,向样板戏学习,使得笛曲越练越具备“歌乐化”、“声腔化”的特质。第四章论述1976年至20世纪末的发展情形。1977年恢复高考,音乐院校恢复招生,“改革开放”浪潮使得笛乐从“一”走向多元化。1982年,文化部举办的“全国器乐观摩演出”,使得新一代笛子演奏者崭露头角。在作曲家笔下,有别于传统音乐的作曲语汇,为笛乐创造了新的意象空间；女性演奏者的出现,不再囿于传统的社会身分与形象,大胆参与到消费文化中；海峡两岸笛乐文化交流使彼此资讯相互容受,台湾笛界举办国际性笛子协奏大赛,塑造新的时代经典,对大陆笛乐经典进行了一系列再塑造、再定位。结语是对全文的总结,经由对过往发展的归纳,希冀提供未来发展的经验与方向。更多还原

【Abstract】 The introduction is the territory to research object of this study:Delimit the range of the study from the system, distinguish the origin of musical instruments from historical evolution, kinds of question of the belonging and so on, Carry on the summary to the research results which predecessors have completed of the 20th century.The first four chapters of this article state the development of China flute in the 20th century. Chapter one records that the Dizi take on different roles of proportion of the regional folk music during the beginning of the 20th century. For a long time, most players, either the soloist of recreating by oneself, or the players who play several kinds of musical instruments in the orchestra, all of them dispersed all over China and did not go down in the history because their social status. Sprout from "the new music" in China, the bamboo flute also joins this wave and becomes a member of the stage music gradually.Chapter two discusses the events which happened in 1953-1965. In 1953, Feng Zichun, participated in " The Performance Of The National Music And Dance", was a pioneer in the soloist of Dizi. Therefore, the performance form of Dizi in 20th century, the social status of the performers, the creation mode of Dizi music, completely reborn and there produced a batch of flute music which take folk music as a backing and performers who play this kind of music. In 1956, during the performances of "National Music Week", the Dizi piece "Morning" was published, and symbolized that the south and north flute music begin to coexisting in the same piece and the boundary of the region style begins to be eliminated gradually.Chapter three focuses on the discussion of the flute music in the Cultural Revolution period. Playing familiar red songs, and learn the "Yang Ban Xi" causes the flute music of this period has the specialities of melody. At the end of the frenetic times, the education was paid the attention again. Re-enrollment of the conservatories of music made the contact with "the reform and opening" and caused the flute music develops from "one" to diversification.Chapter four discusses the time from 1976 to the end of the 20th century. In 1982, Ministry of Culture held the demonstration performance of national instrumental music, and this activity also was the first nationwide instrumental competition after "the Culture Revolution". This competition makes the new generation bamboo flute performers become rising stars gradually, and this situation declares that new major personages become the owner of the Yellow River. Different from the music vocabulary with whole traditional rules, composers create different image space for flute music. Female performers joined in this stage. They were no longer limited and held in the traditional conservative social status and figure, but participated in the consumer culture boldly. The communication of the culture exchange across the Taiwan Strait is also the beneficiary of the reform and opening-up. Because of the opening acceptance of a lot of information, Taiwanese composers reshaped and relocated this classical flute music. In addition, holding the international China flute concerto competition and creating the new classical era promote the prosperous development of the flute music.The conclusion is the retrospect of the centurial China flute music course. By the summary of the passing development, hope that we can provide the experience and direction for the development in the future.更多还原