本文關(guān)鍵詞： 民族形式 聲辭關(guān)系 《黃河大合唱》 康塔塔　出處：《中國現(xiàn)代文學(xué)研究叢刊》2017年08期 　論文類型：期刊論文

【摘要】：音樂戲劇的民族形式并非橫空出世,而是20世紀(jì)的愛國青年在"中國向何處去"的"世紀(jì)之問"中自覺地學(xué)習(xí)西方,批判地繼承本民族文化的共識。每一部音樂戲劇作品在文、樂、曲、劇各自為政的當(dāng)代史論中地位不同,但它們對形式變革的積極作用都值得肯定。在古今、中西、花雅的立體框架中梳理音樂戲劇形式的流變,才能更好地理解20世紀(jì)中國紅色歌劇的實(shí)踐。冼星海開創(chuàng)性地利用了"康塔塔"來表現(xiàn)抗戰(zhàn)題材,開啟了延安"洋瓶裝中酒"的音樂戲劇形式。本文將結(jié)合新民主主義的時勢,考察20世紀(jì)漫長的文化革命在過渡時期產(chǎn)生的過渡形式,以《黃河大合唱》為例,追溯西方形式在陜北革命根據(jù)地的流變,分析中西混編的觀演在新舊更迭的時勢中形成的經(jīng)驗(yàn)和教訓(xùn)。
[Abstract]:The national form of musical drama is not the birth of the world, but in 20th century, patriotic youth consciously learn from the West in "the question of where China is going". Critically inheriting the consensus of the national culture. Each musical drama works in the text, music, music, drama in the contemporary history theory, but they are worthy of recognition of the positive role of formal change, in ancient and modern times. In order to better understand the practice of Chinese red opera in 20th century, Xian Xinghai made use of "Kangta" to express the theme of the War of Resistance against Japan by combing the evolution of musical drama form in the three-dimensional framework of the Chinese and Western, Hua Ya and Hua Ya, so as to better understand the practice of the Chinese red opera in 20th century. It opens the musical and dramatic form of Yanan's "wine in foreign bottle". This article will examine the transitional form of the long cultural revolution in 20th century, in the light of the situation of new democracy. Taking "the Yellow River Chorus" as an example, this paper traces the evolution of western forms in the revolutionary base areas of Northern Shaanxi, and analyzes the experience and lessons of the mixed Chinese and Western views in the new and old changes.
【作者單位】： 中央戲劇學(xué)院戲劇文學(xué)系;清華大學(xué)人文學(xué)院;
【分類號】：J822
【正文快照】： 一 20世紀(jì)初,中國的思想文化界經(jīng)歷了西學(xué)東漸。由歐洲大陸傳來的透視布景、和聲對位作曲法和一整套立體的“再現(xiàn)”系統(tǒng)傳播到了港口和租界,沖擊了各領(lǐng)域的傳統(tǒng)藝術(shù)形式。“歌劇”這一語詞首先在日本被譯為漢字并傳入中國,伴隨而來的是,“京劇”成為了“舊戲”,淪為落后的象

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