移植·嬗变·失落——建国十七年苏联音乐美学思想在中国的传播与受容  

Transplant·Transmutation·Lost——The spread and acceptance of Soviet music aesthetic ideology in China in seventeen years after the establishment of China

作　　者：冯长春[1] 李明辉[2] 

机构地区：[1]华南师范大学音乐学院,广东广州510006 [2]潍坊学院音乐学院,山东潍坊261061

出　　处：《星海音乐学院学报》2012年第3期100-111,共12页Journal of Xinghai Conservatory of Music

基　　金：山东省音乐学泰山学者建设工程专项经费资助项目

摘　　要：中华人民共和国建立之后的十七年(1949-1966)间,受国家政权和意识形态的绝对影响,以苏联为代表的"马克思主义音乐美学思想"强势输入中国,中国音乐学界开始以苏联音乐美学思想为参照系,通过系统接纳与学习不断进行着构建自己的音乐美学体系的尝试。其间历经建构社会主义音乐文化目标下的全面移植、话语权转换中的局部嬗变以及前"文革"时期美学意识泯灭导致的整体失落等三个主要阶段。这一过程体现了现代中国音乐美学发展初期的努力与彷徨。建国十七年苏联音乐美学思想在中国传播与受容的历史过程,以及其中的经验得失与历史意义均值得作出深入的梳理与总结。In seventeen years after the establishment of the P. R. China （1949 -1966）, under the absolute impact of state power and ideology, the ＂musical aesthetic ideology of Marxism＂ coined by the former Soviet Union was strongly input into China. With the Soviet aesthetic thought of music as a frame of reference, Chinese music scholars began to accept and learn it systematically and attempted to build their own musical aesthetic system. It passed through three main stages, including comprehensive transplant under goal of socialist musical culture construction, the part transmutation during voice conversion and overall loss caused by absence of aesthetic consciousness during ＂Cultural Revolution＂. This whole process reflects effort and hesitance in the early stage of development of Chinese modern music aesthetics. The historical process of spread and acceptance of Soviet music aesthetic ideology in China in seventeen years after the establishment of China, and the experience and historical significance are both good for deep combing and sum -up.

关 键 词：音乐美学 苏联 中国 传播 受容 

分 类 号：J609.2[艺术—音乐]