【摘要】：“國粹主義”和“國粹主義”音樂思潮這些名字,對于當(dāng)代中國多數(shù)人的理解來說是個(gè)“貶多褒少”,并略帶些譏諷、批判成分的詞,在多數(shù)情況下,人們總是習(xí)慣地把它們和阻礙社會(huì)進(jìn)步和發(fā)展的“復(fù)古主義”混為一談,是頑固、僵化、落后思想的代名字。因此,長期以來正是由于這種特殊性,使得“國粹主義”者總是遭到無端的懷疑和指責(zé),也使得對該思朝的研究難以突破,“國粹主義”者的歷史地位,他們的艱辛付出,他們?yōu)槊褡逡魳返纳婧桶l(fā)展所取得的歷史成就始終得不到社會(huì)的承認(rèn),歷史的認(rèn)可。 百年以后的今天,當(dāng)我們再度把這些被現(xiàn)代歷史視為“頑固”、“僵化”、“愚昧”而遭到冷落和遺棄的“紙屑”重新拾掇起來,再度詠嚀他們的“古毛詩,昆山曲”,聆聽高揚(yáng)的“《中國雅樂》”；回味“海內(nèi)外同志通力合作,振興國樂不遺余力”的吶喊,體驗(yàn)“采本國固有之精粹,容納外來潮流”的精神,領(lǐng)略“登昆侖之巔,吹黃鐘之律”的豪邁的時(shí)候,我們是那么得熱血沸騰、震動(dòng)不已!有一天我終于突然發(fā)現(xiàn)：我們的先人們在百年以前所竭力提倡的“諧和”的精神；他們在處理古、今,中、西音樂的關(guān)系上所持有“古為今用,洋為中用”的寬廣胸懷；他們所崇尚的“使民族國樂與世界音樂并駕齊驅(qū)”,“作為人類一份子,僅能食西人造成之果,而不能貢獻(xiàn)我先哲造成之果與人類,亦何面目與他國之人握手為儔哉?”的強(qiáng)烈的民族精神；他們赤誠的愛國之心；他們對事業(yè)的執(zhí)著和奉獻(xiàn)精神,不正是百年后今天的我們正在努力開創(chuàng)并積極追求的主題和目標(biāo)嗎?追憶我們的先輩們在近代為保存、挖掘、發(fā)展傳統(tǒng)“國樂”所作的巨大貢獻(xiàn),思忖歷史缺乏對他們以應(yīng)有的公正、合理的評介和待遇,我萌生了想要把近代“國粹主義”音樂思潮衍進(jìn)過程研究作為我碩士畢業(yè)論文,借此梳理、研究、學(xué)習(xí)的過程來表達(dá)我對我們先人緬懷、崇敬的念頭。我真是深深地覺得他們值得我們認(rèn)真的研究、學(xué)習(xí)。 文章《近代國粹主義音樂思潮衍進(jìn)過程研究》分為三個(gè)章節(jié),第一章是“國粹主義”音樂思想興起原因分析；第二章是“國粹主義”者的音樂思想和實(shí)踐；第三章是“國粹主義”音樂思想衍進(jìn)過程的特點(diǎn)和對中國近代音樂文化的影響,最后是文章的結(jié)語。其中第二、三章是全文論述的重點(diǎn),包括思潮的萌生,思潮的形成,思潮的發(fā)展三個(gè)小節(jié),采用對史料和文獻(xiàn)整理、歸納、分析、比較的方法,對“國粹主義”者的思想、“國粹主義”者的音樂實(shí)踐,以及他們的思想和實(shí)踐所產(chǎn)生的影響作一個(gè)客觀和理性的闡述。希冀《衍進(jìn)過程研究》能在緬懷和展示“國粹主義”者對歷史、對社會(huì)所作貢獻(xiàn)的同時(shí),也能起到一些其他的什么作用,使得社會(huì)和歷史不要忘記、冷落他們。
[Abstract]:The names "quintessence" and "populist" musical thoughts are "derogatory, more highly praised" and slightly sarcastic and critical, in most cases, for most people in contemporary China. People have always been accustomed to confuse them with the "retro doctrine", which hinders social progress and development, and is the name of stubbornness, rigidity and backwardness. Therefore, for a long time, it is precisely because of this particularity that the "quintessence" has always met with unwarranted suspicion and criticism, and it has also made it difficult to break through the research on the thought of the DPRK, the historical status of the "quintessence" and their hard work. Their historical achievements for the survival and development of folk music have never been recognized by society and history. Today, a hundred years later, when we once again regard these "confetti", which are regarded by modern history as "stubborn", "rigid", "ignorant" and neglected and abandoned, we are picking up again the "ancient Mao poems, Kunshan Opera" that we have once again exhorted them. Listen to Gao Yang's "Chinese elegant Music"; recall the cry that "comrades at home and abroad work together to revitalize national music and spare no effort", experience the spirit of "adopting the essence inherent in our country and accommodating foreign trends", and appreciate the "summit of Kunlun," Blowing the Law of the Yellow Bell "when the heroic, we are so blood boiling, shaking!" One day I finally found out: our ancestors in a hundred years ago to promote the spirit of "harmony"; they handle the relationship between ancient, present, Western music, held in the "past for the present, foreign for the use of" broad mind; Their worship of "keeping national music with world music", "as a human being, can only eat the fruits of the Western people, and can not contribute to the fruit of our forefathers and human beings. What is the face of shaking hands with people from other countries?". The strong national spirit; their sincere patriotism; their dedication and dedication to the cause is not exactly the theme and goal that we are striving to create and actively pursue in a hundred years' time. Recalling the great contributions made by our forefathers in the preservation, excavation and development of traditional "national music" in modern times, and pondering that history lacks the fair and reasonable comments and treatment that history deserves for them, I began to want to study the evolution of modern "quintessence" music trend as my master's thesis, by which the process of combing, research, learning to express my thoughts of remembering and venerating our ancestors. I really feel that they are worthy of our careful study and study. This article is divided into three chapters: the first chapter is an analysis of the reasons for the rise of the music thought of "quintessence", the second chapter is the music thought and practice of the "quintessence". The third chapter is the characteristics of the evolution of music thought of "quintessence" and its influence on Chinese modern music culture. Finally, it is the conclusion of the article. The second and third chapters are the emphases of the full text, including the initiation of ideological trend, the formation of ideological trend and the development of ideological trend. The music practice of "quintessence" and the influence of their thought and practice are expounded objectively and rationally. It is hoped that the study of the process of evolution can not only remember and show the contributions made by the "quintessence" to history and society, but also play some other role, so that society and history should not forget and ignore them.
【學(xué)位授予單位】：杭州師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2005
【分類號】：J609.2

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