后现代语境中音乐接受美学的三大特征——以刘索拉的歌剧《惊梦》研究为例

发布时间：2018-11-21 16:19

【摘要】：正一、音乐接受美学与刘索拉的歌剧《惊梦》(一)后现代语境中"音乐接受美学"的出现20世纪是一个文学、艺术批评尤为繁盛的时代,在这个世纪中,各种不同的文学、艺术思潮迭起。20世纪60年代末开始,西方的艺术风格开始从现代主义向后现代主义转变,在作品的创作与表演中展现出更为激进的态势。到20世纪70年代,随着各类新兴学说的出现,这种转折过程中,更是充满了层出不穷的艺术理论和表达样式。反映在文艺理论、音乐理论上,就是在这些领域中开始出现了诸如解构主义、接受美学、女性主义视角、新历史主义批评以及后殖民主义批判等较为前沿的视角和理论体系,开始对20世纪中叶之前的文学、艺术进行颠覆性的研究。在音乐领域,这种现代和后现代思潮也开始逐渐演变为古典音乐、现代音乐与当代音乐、实验音乐的激烈对抗,因而
[Abstract]:First, the Aesthetics of Music reception and Liu Suola's Opera "A Dream of surprise" (1) the emergence of "Music reception Aesthetics" in the post-modern context is a literary era in which artistic criticism is particularly flourishing. In this century, there are various kinds of literature. Beginning in the late 1960s, the western artistic style began to change from modernism to postmodernism, showing a more radical trend in the creation and performance of works. In the 1970s, with the emergence of various new theories, this turning process is full of endless artistic theory and expression style. Reflected in the theory of literature and art, music theory, it is in these fields, such as deconstruction, receptive aesthetics, feminist perspective, new historicism criticism and postcolonial criticism and other relatively advanced perspectives and theoretical systems. Began to subversive study of literature and art before the middle of the 20th century. In the field of music, this modern and post-modern trend of thought has gradually evolved into classical music, modern music and contemporary music, experimental music fierce confrontation, so
【作者单位】：首都师范大学音乐学院;
【分类号】：J617.2

【相似文献】