本文選題：新歌劇 + 《白毛女》��； 參考：《人民音樂》2015年12期

【摘要】：正在中國現(xiàn)代音樂史上,甚至是中國現(xiàn)代藝術(shù)史上,延安新秧歌劇都是一個(gè)不可忽視的課題。作為一種特定時(shí)期的特有藝術(shù)現(xiàn)象和藝術(shù)新品種,它與之后出現(xiàn)的"新歌劇"之間到底存在何種關(guān)系和淵源?這在當(dāng)時(shí)及后來的文藝界,尤其是歌劇理論界引起了極大重視,并展開過熱烈的討論。有觀點(diǎn)認(rèn)為,"在努力尋求中國歌劇最初觀眾的過程中,把歌劇這種外來音樂戲劇藝術(shù)形式與類似傳統(tǒng)歌舞劇的秧歌嫁接,巧妙地找到了在傳統(tǒng)文化中著床的土壤",這些大型秧歌劇作
[Abstract]:In the history of modern Chinese music, even in the history of modern Chinese art, Yan'an Xinyang opera is a subject that can not be ignored. As a special artistic phenomenon and new variety of art in a particular period, what kind of relationship and origin does it have with the "new opera" that appears afterwards? At that time and later in the literary and art circles, especially in the field of opera theory, great attention was paid to it, and a heated discussion was carried out. There is a view that "in the process of seeking the initial audience of Chinese opera, the foreign musical and dramatic art form of opera is grafted with Yangko, similar to the traditional musical and dance operas." Skillfully found the soil in the traditional culture ", these large rice operas.
【作者單位】： 華東師范大學(xué)音樂學(xué)系;
【分類號(hào)】：J822

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本文編號(hào)：2081897