“样板戏”钢琴改编曲的历史读解与批判
发布时间：2018-11-03 18:22
【摘要】：钢琴作为19世纪末由西方世界传入中国的“舶来品”,一直在我国音乐艺术发展领域扮演着重要角色。“文革”时期,在“极左”气候影响下,我国文艺事业跌落低谷,普遍存在“产量不多、质量不高”的状况。在江青等人的政治压迫下,唯有“样板戏”作为“无产阶级文艺典范”,在艺术创作领域一枝独秀。而作为“封资修”产物的钢琴则面临被砸烂的命运,我国钢琴事业几近夭折。在当时全国八亿人民唱八个样板戏的“盛况”下,以殷承宗为代表的一批音乐家,本着寻求出路的目的创作出由“样板戏”音乐改编而来的钢琴作品,得到了中央文革小组的认可,扭转了这一困境并使钢琴得到了空前的普及,为钢琴事业在我国的发展找到了出路。自钢琴伴唱《红灯记》问世以后,先后又诞生了钢琴弦乐五重奏《海港》、钢琴独奏《家住安源》、钢琴组曲《红色娘子军》等一批“样板戏”钢琴改编曲,成功实现了“曲线救琴”。文革中后期,我国钢琴音乐创作达到建国以来顶峰。直至今天,“文革”时期的部分钢琴改编曲仍广为流传并为人们所喜爱,其对我国钢琴事业再生及音乐民族化进程和戏曲领域都有着不可磨灭的贡献。 本文将从其中的“样板戏”钢琴改编曲入手,从“‘样板戏的历史回眸与文化记忆”、“‘样板戏’的钢琴创意与文化障壁”、“‘样板戏’钢琴改编曲本体特征与曲例证实”及“‘样板戏’钢琴改编曲的历史价值与文化批判”四个章节来完成全文的阐述。以一分为二的视角,褒贬共持的态度进行分析评价。并着重对其中具有代表性的伴唱《红灯记》、室内乐重奏《海港》及独奏曲《家住安源》三部由“样板戏”主要唱段改编而来的钢琴作品进行比较和分析。文章最后对钢琴事业今后的发展做出思考和展望,以期为今后的研究者提供有所价值的参考,尽一份绵薄之力。
[Abstract]:Piano, which was introduced into China from the western world at the end of 19 ~ (th) century, has always played an important role in the development of Chinese music art. During the "Cultural Revolution" period, under the influence of the "extreme left" climate, the cause of literature and art in our country fell to a low point, and there was generally a situation of "low output and low quality". Under the political oppression of Jiang Qing and others, only "model opera" as a "proletarian literary and artistic model" in the field of artistic creation. The piano, as the product of "sealed repair", is faced with the fate of being smashed, and the piano career in our country is almost aborted. At that time, under the "grand occasion" in which 800 million people across the country sang eight model operas, a group of musicians, represented by Yin Chengzong, created piano works adapted from "model operas" for the purpose of seeking a way out. It has been recognized by the Central Cultural Revolution Group, which has reversed this dilemma and made the piano become more popular than ever before, thus finding a way out for the development of the piano industry in our country. Since the advent of the piano accompaniment "Red Lantern", the piano string quintet "Harbour", the piano solo "home and living in Anyuan", the piano ensemble "Red Lady Army" and some other "model opera" piano adaptations have been born. Successfully realized the curve to save the piano. In the late period of the Cultural Revolution, piano music creation reached its peak since the founding of the people's Republic of China. Up to now, part of the piano adaptation of the "Cultural Revolution" is still widely spread and loved by people, and it has made an indelible contribution to the regeneration of our country's piano cause, the process of music nationalization and the field of opera. This article will start with the piano adaptation of "model opera", "the historical review and cultural memory" of "model opera", "the piano creativity and cultural barrier" of "model opera", Four chapters, "the Noumenon characteristics of Piano adaptation" and "Historical value and Cultural criticism of Piano adaptation of Model Opera", complete the full text. From the perspective of split into two, the attitude of praise and disparagement is analyzed and evaluated. It also makes a comparison and analysis of the three piano works which are composed of the representative accompaniment the Red Lamp, the Chamber Ensemble, the Harbour and the Solo, Anyuan, which are adapted from the main choreography of Model Opera. In the end, the paper gives some thoughts and prospects for the future development of piano career, in order to provide valuable reference for future researchers.
【学位授予单位】：浙江师范大学
【学位级别】：硕士
【学位授予年份】：2011
【分类号】：J624.1
本文编号：2308586
[Abstract]:Piano, which was introduced into China from the western world at the end of 19 ~ (th) century, has always played an important role in the development of Chinese music art. During the "Cultural Revolution" period, under the influence of the "extreme left" climate, the cause of literature and art in our country fell to a low point, and there was generally a situation of "low output and low quality". Under the political oppression of Jiang Qing and others, only "model opera" as a "proletarian literary and artistic model" in the field of artistic creation. The piano, as the product of "sealed repair", is faced with the fate of being smashed, and the piano career in our country is almost aborted. At that time, under the "grand occasion" in which 800 million people across the country sang eight model operas, a group of musicians, represented by Yin Chengzong, created piano works adapted from "model operas" for the purpose of seeking a way out. It has been recognized by the Central Cultural Revolution Group, which has reversed this dilemma and made the piano become more popular than ever before, thus finding a way out for the development of the piano industry in our country. Since the advent of the piano accompaniment "Red Lantern", the piano string quintet "Harbour", the piano solo "home and living in Anyuan", the piano ensemble "Red Lady Army" and some other "model opera" piano adaptations have been born. Successfully realized the curve to save the piano. In the late period of the Cultural Revolution, piano music creation reached its peak since the founding of the people's Republic of China. Up to now, part of the piano adaptation of the "Cultural Revolution" is still widely spread and loved by people, and it has made an indelible contribution to the regeneration of our country's piano cause, the process of music nationalization and the field of opera. This article will start with the piano adaptation of "model opera", "the historical review and cultural memory" of "model opera", "the piano creativity and cultural barrier" of "model opera", Four chapters, "the Noumenon characteristics of Piano adaptation" and "Historical value and Cultural criticism of Piano adaptation of Model Opera", complete the full text. From the perspective of split into two, the attitude of praise and disparagement is analyzed and evaluated. It also makes a comparison and analysis of the three piano works which are composed of the representative accompaniment the Red Lamp, the Chamber Ensemble, the Harbour and the Solo, Anyuan, which are adapted from the main choreography of Model Opera. In the end, the paper gives some thoughts and prospects for the future development of piano career, in order to provide valuable reference for future researchers.
【学位授予单位】：浙江师范大学
【学位级别】：硕士
【学位授予年份】：2011
【分类号】：J624.1
【引证文献】
相关硕士学位论文 前1条
1 方璀;中国钢琴独奏乐曲中京剧元素的运用探究[D];华中师范大学;2013年
，本文编号：2308586
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