社会进程下辽宁鼓乐发展探究

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题目】社会进程下辽宁鼓乐发展探究 
【前言  1.1】鼓吹乐文化的历时性与共时性体现 
【1.2】辽宁鼓乐的历史与现状 
【第二章】辽宁鼓乐的社会维系 
【第三章】辽宁鼓乐的个人体验 
【结论/参考文献】辽宁鼓乐的变化变迁研究结论与参考文献 


  摘 要

  自古以来,中国传统文化的特点之一就是海纳百川,随着社会进程的发展,在保持自己民族特色的同时,始终向世界敞开博大的胸怀,不断汲取各种异域文化,以丰富和发展自己,尤其是在乐器文化领域。辽宁鼓乐在漫长的历史发展过程中,同其它传统音乐一样,通过吸收、发展、融合与创造形成了鼓乐无论是音乐形态还是音乐本体都大量包含了外来因素的现实。

  辽宁鼓乐是民间重要的乐种之一,也是至今仍然活跃在民间的一种艺术形式。辽宁鼓乐在当今世界经济全球化,文化多元化的潮流席卷之下,受西方音乐思维模式的影响,随着社会的变迁、价值观的转变等因素,从 20 世纪 60 年代起,辽宁鼓乐在乐队构成、演奏曲目、演奏风格及传承方式等方面逐渐发生变化。丧葬的改革以及音乐消费者艺术趣味和欣赏习惯的改变,鼓乐在婚丧礼俗过程中也不断地变化发展着。这种变化与发展,是辽宁鼓乐在社会进程中创建的结果。面临着外界经济与文化的冲击,辽宁鼓乐为适应时代的需求不断做出自身的调整,这种调整是确保它存活在时空的必要条件。

  本文以辽宁鼓乐发展为线索,以社会进程为背景,以文化变迁为契机,以形态研究为着手点,以文化追问为研究目的,全面阐述辽宁鼓乐在社会进程中的文化变迁。故而其研究领域兼具形态研究和文化价值研究两种属性。研究证明,辽宁鼓乐的产生、发展与变迁是在社会进程中逐渐形成的,而在每个过程中的变异、更新往往是局部的、量变的。辽宁鼓乐的整体形态,不同程度地存留着各历史时期的社会环境、生态环境和文化背景的积淀,以及不同民间艺人创造的痕迹。辽宁鼓乐经世代传承流传至今,它总是随着社会的发展而发展,随着时代的变迁而变迁。辽宁鼓乐的文化变迁是传统音乐因素与“现代”音乐因素互缠、整合的文化重构。它既是当代的也是历史的,它“今日”的风貌依然绽放着“往日”的文化光彩。

  关键词:辽宁鼓乐 音乐功能 文化变迁 社会进程

  Abstract

  Since ancient times, one of the characteristics of traditional Chinese culture is to integrateall kinds of cultures to enrich and develop Chinese culture by absorbing different cultures ofdifferent regions with the open mind to the world in the development of the society, while thenational characteristics can be well-kept. It is true in the field of musical instruments. Liaoningdrum music, as other traditional music, contains the elements of different cultures both in musicalforms and musical ontology through absorption, development, integration and creationLiaoning Guyue is one type of the important Chinese folk music, which is still quite activenow in some regions of Liaoning province. Liaoning Guyue has been gradually changed in suchaspects as the band constitution, the pieces of music in performance, playing style and the way ofheritance since 1950s with the changes of the society and values, which has been influenced bythe thinking mode of western music under the background of today's world of economicglobalization, cultural diversity. The Guyue in the funeral customs has been constantly changingand developing with the funeral reform and the changes in the artistic tastes and appreciatinghabits of the music consumers.

  This essay is to fully state the culture changes of liaoning guyue in the procession of thesociety by taking the development of liaoning guyue as the clue, taking the social developing asthe background, the culture changes as the chances, the music form research as the start point, theculture inquiry as the study purpose. It proves that the emergence and development and change ofLiaoning Guyue gradually come into being in the procession of the society. And the variation,updated at each process is often partial, quantitative change. The overall morphology of Liaoningguyue reflects at different level t he remains of the accumulation of social environment, ecologicalenvironment and cultural background in different historical periods as well as the traces of thecreation by folk artists. Liaoning guyue has been spreaded so far after the transmission fromgeneration to generation. And It will develop with the development of society and change with thechange of times all the time. Cultural change in Liaoning drum music is the cultural reconstructionwith the mutual winding and integration of traditional music elements and “modern” music factors.

  It belongs to the period of both contempory and history , It “today” style is still blooming “old”cultural brilliance.

  Key words: Liaoning Guyue Music function Culture function Social processio


  目 录

  前言

  一。 选题依据

  二。 研究现状

  三。 研究方法

  第一部分 辽宁鼓乐的历史建构

  一、鼓吹乐文化的历时性与共时性体现

  (一)历时性体现

  1.秦汉时期

  2.魏晋南北朝时期

  3.隋唐时期

  4.宋元时期

  5.明清鼓吹乐

  (二)共时性体现

  二、辽宁鼓乐的历史与现状

  (一)乐队构成及演奏形式

  1.传统乐队构成及演奏形式

  2.乐队的革命

  (二)演奏曲目及分类

  1.传统乐曲的分类

  2.曲目演变与更新

  (三)辽宁鼓乐的传承

  1.辽宁鼓乐的乐班构成

  2. 辽宁鼓乐的传承方式

  3. 辽宁鼓乐的传承主体

  (四)辽宁鼓乐的音感变迁

  1.电子琴的加入

  2.新媒体的并生

  第二部分 辽宁鼓乐的社会维系

  一、建国初期

  二、“文革”时期

  (一)“集成”对辽宁鼓乐研究的意义

  (二)“集成”对辽宁鼓乐起到保护与恢复作用

  (三)集成的美中不足

  四、“非遗”时代

  (一)非物质文化遗产的概念及特性

  1.非物质文化遗产的概念及政策法规

  2.非物质文化遗产的特性

  (二)辽宁鼓乐“非遗”现状

  (三)“非遗”的局限性--梧桐不在凤凰何栖

  第三部分 个人体验

  一、鼓乐艺人体验

  (一)乐队的改变

  (二)曲目的流行化

  三、“集成时代”

  (三)鼓乐形式

  二、观众体验

  三、笔者体验--观“首届辽宁鼓乐展演”有感

  结 论

  参考文献

  致 谢

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