制约·构建以及“人”的缺席——1950年代中国交响音乐创作观念的现实局限性研究  

Restriction, Construction and absence of "Human":A study on the practical limitations of Chinese Symphonic music concepts in the 1950s

作　　者：任云[1] 檀革胜[1] REN Yun;TAN Gesheng

机构地区：[1]华侨大学音乐舞蹈学院

出　　处：《乐府新声（沈阳音乐学院学报）》2021年第4期35-42,共8页The New Voice of Yue-Fu(Journal of the Shenyang Conservatory of Music)

基　　金：2015年国家社科基金艺术学一般项目“新中国交响音乐创作观念研究”(15BD053)阶段性成果。

摘　　要：本文通过研究1950年代中国交响音乐创作发展的历程,去追问这个特殊时代交响音乐创作观念如何制约创作、讨论这个时代交响音乐创作观念的现实局限性。在这个特殊时代的交响音乐创作过程中,传统交响音乐创作观念中有关表达"人"、"人生"、"命运"、"宗教"、"生死"等观念在这个时代交响音乐作品中鲜有出现;作品中"人"的离席、"命运"观念的缺失,使得这些观念的现实指导意义式微,局限性凸显。This paper examines how creative concepts restrict symphonic music composing and discusses the practical limitations of symphonic in special era,by carefully studying the development of symphonic music in China in the 1950s. In the process of symphonic music in this special era, the traditional concept of symphonic music about the expression of "human" "life" "fate" "religion" "life and death" and other concepts rarely appear in the symphonic music works. The absence of "Human" and the concept of "fate" in the works makes the realistic guiding significance of these concepts decline and their limitations become prominent.

关 键 词：创作观念 观念之囿 观念建构 

分 类 号：J605[艺术—音乐]