拉赫玛尼诺夫的“接受史”透视  

A Critical Overview on Reception History of Rachmaninoff

作　　者：杨燕迪 Yang Yandi

机构地区：[1]哈尔滨音乐学院,哈尔滨150028 [2]中国音乐家协会

出　　处：《北方音乐》2023年第1期8-18,68,共12页Journal of the Northern Music

基　　金：中央支持地方高校改革发展资金人才培养项目“俄罗斯音乐成就的成因及对中国的启示研究”(项目编号:2020GSP18)阶段性成果。

摘　　要：拉赫玛尼诺夫作为20世纪音乐中的一名“保守派”作曲家,长期以来虽然在演出市场和普通听众中享有盛誉,但在专业音乐圈和学术-批评界却时常遭到贬斥。文章对拉赫玛尼诺夫的接受史状况分四个方面(演出市场与大众接受、学术-批评界的态度、苏联的情况、中国和当前世界的状况)做出概括性梳理和透视性解读,进而思考了拉赫玛尼诺夫接受史所引发的音乐史学方法论启示和相关创作美学问题。Rachmaninoff,a“conservative”composer of twentieth-century music,has long enjoyed high reputation in the performance market and among the general public,but he has also been severely criticized by professional musicians and critics.This paper presents an overview of Rachmaninoff’s reception history in four areas(performance market and public reception,academiccritical attitudes,the situation in the Soviet Union,and the current situation in China and worldwide)and provides critical interpretations.Then the author considers the methodological implications of Rachmaninoff’s reception history and the related aesthetic issues of composing creativity.

关 键 词：拉赫玛尼诺夫 俄罗斯音乐 苏联音乐 接受史 音乐史学 创作美学 

分 类 号：J609[艺术—音乐]