【摘要】：民國時(shí)期,中國社會(huì)產(chǎn)生了重大變革,諸多中國傳統(tǒng)藝術(shù)在這一社會(huì)大背景下艱難轉(zhuǎn)型,其中蘇滬地區(qū)的琴學(xué)發(fā)展尤為典型,它以一種具有時(shí)代特征的古琴社團(tuán),作為琴學(xué)在此地得以保存、延續(xù)和發(fā)展的新平臺(tái)。而在眾多社團(tuán)中,今虞琴社無疑發(fā)揮了無可取代的重要作用,極大地影響了上海琴界日后的發(fā)展。今虞琴社由28位民國時(shí)期的琴人發(fā)起,成立于蘇州,后遷移、活動(dòng)于上海,是蘇滬地區(qū)琴學(xué)變遷的縮影。今虞琴社經(jīng)歷了產(chǎn)生、成長(zhǎng)、壯大、衰落的過程,當(dāng)時(shí)精英階層的相互認(rèn)同、相互交流、相互切磋,“無門戶之見”,保留了流派的特色,“聲應(yīng)氣求”,保存國粹,繼承和發(fā)揚(yáng)了古琴藝術(shù)。本文通過對(duì)今虞琴社的時(shí)代背景、琴人資料、琴社活動(dòng)等方面的闡釋,對(duì)其社會(huì)性、群體性進(jìn)行研究,充分展現(xiàn)當(dāng)時(shí)琴人們高度的“文化自覺”。當(dāng)時(shí)的琴人在琴社活動(dòng)過程中既有“傳”也有“承”,他們自覺或不自覺地成為古琴藝術(shù)的承載者,對(duì)古琴的傳承和保護(hù)起到不可忽視的重要作用,也為當(dāng)代古琴文化的傳承和發(fā)展提供一個(gè)重要的實(shí)證經(jīng)驗(yàn)。
[Abstract]:During the period of the Republic of China, great changes took place in Chinese society, and many Chinese traditional arts were difficult to transform under this social background, among which the development of piano learning in Suzhou and Shanghai was especially typical, and it was a Guqin society with the characteristics of the times. As a new platform for the preservation, continuation and development of piano science here. In many societies, Yuqin Society undoubtedly played an irreplaceable role, which greatly affected the future development of Shanghai piano circle. Yuqin Society was founded in Suzhou by 28 Qin people in the period of Republic of China. It is a microcosm of the changes of piano studies in Suzhou and Shanghai. The Yuqin Society experienced a process of emergence, growth, and decline. At that time, the elite class recognized each other, exchanged views, "have no personal views", retained the characteristics of the school, "responding to the demands", and preserving the quintessence of the nation. Inherited and developed the Guqin art. Through the interpretation of the background of the present Yuqin Society, the information of the Qin people and the activities of the Qin Society, this paper makes a study of its sociality and collectivity, and fully demonstrates the high "cultural consciousness" of the Qin people at that time. The Qin people at that time had both "transmission" and "inheritance" in the course of the Qin Society's activities. They consciously or unconsciously became the carriers of the Guqin art and played an important role in the inheritance and protection of the Guqin. It also provides an important empirical experience for the inheritance and development of Guqin culture.
【學(xué)位授予單位】：中國藝術(shù)研究院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：J632.31-2

【參考文獻(xiàn)】

相關(guān)期刊論文 前10條

1 戴微;;新文化運(yùn)動(dòng)中的琴人與琴會(huì)——論“怡園琴會(huì)”和“晨風(fēng)廬琴會(huì)”在近代琴史上的價(jià)值與意義[J];音樂藝術(shù)(上海音樂學(xué)院學(xué)報(bào));2015年03期

2 傅暮蓉;;古琴史上的里程碑[J];樂府新聲(沈陽音樂學(xué)院學(xué)報(bào));2013年04期

3 林晨;;20世紀(jì)上半葉的古琴改良[J];樂府新聲(沈陽音樂學(xué)院學(xué)報(bào));2012年03期

4 李玉栓;;中國古代的社、結(jié)社與文人結(jié)社[J];社會(huì)科學(xué);2012年03期

5 楊家潤(rùn);倪佳珍;;憶樊師伯炎先生[J];世紀(jì);2012年02期

6 王詠;;文化遺產(chǎn)與國家認(rèn)同——社會(huì)學(xué)視野中的古琴藝術(shù)變遷[J];南京藝術(shù)學(xué)院學(xué)報(bào)(音樂與表演版);2011年04期

7 胡斌;;“派別”話語下的古琴音樂認(rèn)同[J];星海音樂學(xué)院學(xué)報(bào);2010年03期

8 胡斌;;歷史記憶與群體認(rèn)同:二十世紀(jì)二、三十年代上海琴人文化身份探析[J];中國音樂;2010年02期

9 姚公白;;山中憶故人 寫在張師子謙誕辰一百一十周年[J];音樂愛好者;2009年12期

10 成公亮;;張子謙先生在近現(xiàn)代琴史上的貢獻(xiàn)[J];音樂愛好者;2009年02期

相關(guān)重要報(bào)紙文章 前1條

1 王安潮;;今虞回響 琴韻悠長(zhǎng)[N];音樂周報(bào);2007年

相關(guān)博士學(xué)位論文 前3條

1 胡斌;現(xiàn)代認(rèn)同與文化表征中的古琴[D];上海音樂學(xué)院;2009年

2 傅暮蓉;查阜西琴學(xué)研究[D];中國藝術(shù)研究院;2009年

3 戴微;江浙琴派溯流探源[D];上海音樂學(xué)院;2003年

，

本文編號(hào)：2217862