本文選題：臺(tái)灣　切入點(diǎn)：新音樂(lè)　出處：《中央音樂(lè)學(xué)院》2009年博士論文

【摘要】： 很早以來(lái),臺(tái)灣就是中國(guó)神圣領(lǐng)土的一部分。其獨(dú)特的地理位置、復(fù)雜的歷史文化變遷,孕育了豐富多彩的臺(tái)灣音樂(lè)。1895年中日甲午海戰(zhàn)以后,海峽兩岸長(zhǎng)期隔離,我們對(duì)臺(tái)灣音樂(lè)的了解就很少了。因此,關(guān)注和研究臺(tái)灣音樂(lè)就成了我們音樂(lè)工作者的重要課題。再?gòu)暮{兩岸目前關(guān)于研究臺(tái)灣音樂(lè)的成果來(lái)看,雖有論著提及1945至1960年代的臺(tái)灣音樂(lè),但還未見(jiàn)對(duì)1945至1960年的臺(tái)灣新音樂(lè)進(jìn)行全面論述的專著。筆者以為,從整個(gè)臺(tái)灣音樂(lè)歷史發(fā)展進(jìn)程看,1945至1960年是一段特殊的歷史時(shí)期。一方面,1945年臺(tái)灣恢復(fù)中國(guó)主權(quán)后,新音樂(lè)文化有了一個(gè)新的起點(diǎn)；另一方面,1949年國(guó)民政府遷往臺(tái)灣,此期的音樂(lè)藝術(shù)有著獨(dú)特的、區(qū)域性的時(shí)代特色和藝術(shù)形式。如果不了解這一時(shí)期的音樂(lè)文化,那么對(duì)臺(tái)灣音樂(lè)史的認(rèn)識(shí)就是不全面、不系統(tǒng)的。為此,·筆者以“1945至1960年的臺(tái)灣新音樂(lè)”為研究對(duì)象,以大量的文獻(xiàn)資料及音樂(lè)人物的口述史為基礎(chǔ),在尊重客觀歷史的前提下,從當(dāng)時(shí)的社會(huì)背景出發(fā),以重要的人、事、物為研究主線,運(yùn)用宏觀與微觀相結(jié)合的研究方法,秉持論從史出的治史原則,對(duì)此期新音樂(lè)的面貌進(jìn)行客觀描述,探討其新音樂(lè)的特點(diǎn),并明確這一時(shí)段的新音樂(lè)在臺(tái)灣音樂(lè)史上的特殊地位。 全文內(nèi)容有四：一是音樂(lè)教育事業(yè)的建設(shè)與發(fā)展(第一章)。從中小學(xué)音樂(lè)課程標(biāo)準(zhǔn)、中小學(xué)音樂(lè)教材、臺(tái)灣省立師范大學(xué)音樂(lè)系、政工干部學(xué)校音樂(lè)系幾方面入手,對(duì)這一時(shí)期臺(tái)灣的普通音樂(lè)教育、專業(yè)音樂(lè)教育進(jìn)行考察和研究；二是文藝機(jī)構(gòu)、社會(huì)音樂(lè)活動(dòng)及音樂(lè)傳媒的發(fā)展(第二章)。先是以臺(tái)灣文化協(xié)進(jìn)會(huì)、臺(tái)灣省交響樂(lè)團(tuán)、中華文藝獎(jiǎng)金委員會(huì)、“中國(guó)廣播公司”國(guó)樂(lè)團(tuán)、“國(guó)立音樂(lè)研究所”為代表,對(duì)此期的文藝機(jī)構(gòu)進(jìn)行考察。其次,從音樂(lè)會(huì)、全省音樂(lè)比賽、軍歌推廣活動(dòng)以及對(duì)外音樂(lè)文化交流活動(dòng)諸方面,對(duì)當(dāng)時(shí)的社會(huì)音樂(lè)活動(dòng)進(jìn)行考述。最后以《新選歌謠》、“中國(guó)廣播公司”音樂(lè)欄目、遠(yuǎn)東音樂(lè)社為主,對(duì)此期音樂(lè)傳媒的發(fā)展進(jìn)行考述；三是音樂(lè)家與專業(yè)音樂(lè)創(chuàng)作(第三章)。從大陸赴臺(tái)音樂(lè)家、臺(tái)灣本土音樂(lè)家兩方面,對(duì)此期的作曲家進(jìn)行重點(diǎn)介紹。同時(shí)從音樂(lè)體裁切入,對(duì)這一時(shí)期臺(tái)灣的音樂(lè)創(chuàng)作情況予以回顧,并對(duì)主要作品進(jìn)行音樂(lè)學(xué)分析；四是流行歌曲創(chuàng)作(第四章)。分臺(tái)語(yǔ)、國(guó)語(yǔ)兩部分,探討當(dāng)時(shí)流行歌曲的題材內(nèi)容與歌詞特點(diǎn),并對(duì)主要作品的音樂(lè)特色進(jìn)行分析。 筆者經(jīng)過(guò)深入、系統(tǒng)研究,認(rèn)為1945至1960年的臺(tái)灣,除了豐富的社會(huì)音樂(lè)生活外,還有不少藝術(shù)性較高的音樂(lè)作品,對(duì)臺(tái)灣民眾的精神生活,提供了寶貴的食糧。更重要的是,它在整個(gè)臺(tái)灣音樂(lè)發(fā)展史上起到了承上啟下的“橋梁”作用,不但摒棄了日本殖民統(tǒng)治時(shí)期帶有嚴(yán)重殖民色彩的殖民音樂(lè)文化,恢復(fù)了中華音樂(lè)文化傳統(tǒng),而且對(duì)日后臺(tái)灣音樂(lè)的發(fā)展奠定了堅(jiān)實(shí)基礎(chǔ)。
[Abstract]:Taiwan has long been a part of China's sacred territory. Its unique geographical location and complex historical and cultural changes have given birth to rich and colorful Taiwan music. After the Sino-Japanese War of 1895, the two sides of the Taiwan Strait were separated for a long time. We know very little about Taiwan's music. Therefore, paying attention to and studying Taiwan's music has become an important topic for our music workers. From the current results of research on Taiwan music on both sides of the Taiwan Strait, Although Taiwan music from 1945 to 1960s has been mentioned in some works, there has not been a monograph on Taiwan's new music from 1945 to 1960. From the perspective of the development of Taiwan's music history, 1945 to 1960 is a special historical period. On the one hand, after the restoration of China's sovereignty in 1945, the new music culture had a new starting point; on the other hand, the National Government moved to Taiwan in 1949. This period of music art has unique, regional characteristics and artistic forms. If we do not understand the music culture of this period, then we will not have a comprehensive understanding of Taiwan's music history. For this reason, the author takes "New Taiwan Music from 1945 to 1960" as the object of study, based on a large amount of literature and the oral history of musical figures, on the premise of respecting the objective history and proceeding from the social background at that time. Taking the important people, things and things as the main line of study, using the research method of combining macro and micro, and adhering to the principle of managing history from history, this paper objectively describes the appearance of the new music in this period, and probes into the characteristics of its new music. And the special position of the new music in the history of Taiwan music. There are four parts in the full text: first, the construction and development of music education (Chapter 1). Starting with the music curriculum standards of primary and secondary schools, the music teaching materials of primary and secondary schools, the music department of Taiwan normal University and the music department of political cadres' school, In this period, Taiwan's general music education and professional music education were investigated and studied. Second, the development of literary and artistic institutions, social music activities and music media (Chapter II). First, the Taiwan Cultural Council and the Taiwan Province Symphony Orchestra. The Chinese Literature and Art Award Committee, the "China Broadcasting Corporation" Chinese Orchestra, and the "National Music Research Institute" are the representatives of this period's literary and artistic institutions. Secondly, from concerts to music competitions throughout the province, The promotion of military songs and the exchange of music and culture with foreign countries are studied in the light of the social music activities of that time. Finally, the music column of "China Broadcasting Corporation" and the far East Music Society are the main ones in the "New Choice of Ballads", "China Broadcasting Corporation", and the far East Music Society. The development of this period of music media is studied. Thirdly, musicians and professional music creation (Chapter 3). From the mainland to Taiwan musicians, Taiwan's native musicians, the composer of this issue is mainly introduced. At the same time, from the perspective of music genre, Reviewing the music creation situation in Taiwan during this period, and making musicological analysis on the main works; fourth, the creation of popular songs (chapter four, divided into two parts: Taiwanese and Mandarin), to discuss the content of the subject matter and the characteristics of the lyrics of the popular songs at that time. And the music characteristics of the main works are analyzed. After a thorough and systematic study, the author believes that Taiwan from 1945 to 1960, in addition to its rich social music life, also had many music works of higher artistic quality, which provided valuable food for the spiritual life of the people of Taiwan. More importantly, It has played a bridging role in the history of Taiwan's music development. It has not only abandoned the colonial music culture of the period of Japanese colonial rule, but also restored the tradition of Chinese music culture. It also laid a solid foundation for the development of Taiwanese music in the future.
【學(xué)位授予單位】：中央音樂(lè)學(xué)院
【學(xué)位級(jí)別】：博士
【學(xué)位授予年份】：2009
【分類號(hào)】：J605

【相似文獻(xiàn)】

相關(guān)期刊論文 前10條

1 樊繁;從《開(kāi)羅宣言》到臺(tái)灣光復(fù)[J];臺(tái)聲;2004年10期

2 潘銀良;中共與抗戰(zhàn)時(shí)期的臺(tái)灣光復(fù)運(yùn)動(dòng)[J];黨史文苑;1996年06期

3 張曉哲;;青山一道同云雨 明月何曾是兩鄉(xiāng)——“戰(zhàn)時(shí)首都重慶與臺(tái)灣光復(fù)”學(xué)術(shù)論壇側(cè)記[J];兩岸關(guān)系;2007年12期

4 陳士誠(chéng);臺(tái)灣光復(fù)說(shuō)明了什么[J];w，

本文編號(hào)：1667270