论百年中国钢琴音乐民族化的话语营构  

Discourse Construction on the Nationalization of Chinese Piano Music Over the Past Century

作　　者：窦青 Dou Qing

机构地区：[1]山东师范大学音乐学院

出　　处：《中国音乐》2023年第6期180-187,208,共9页Chinese Music

基　　金：2022年度山东省社科规划项目“沂蒙红色文化融入学校美育课程体系研究”(项目编号:22CYMJ09)的阶段成果。

摘　　要：中国音乐在20世纪经历了不可逆的民族化历程,这在钢琴音乐身上体现得殊为显著。近百年间,围绕“中国钢琴音乐民族化”这一命题,相关论述业已汇聚为三种主要话语形态:其一是立足于钢琴音乐本体之技法革新和形式探索的审美形态;其二是伴随“文艺民族化”论争生成的,高扬“人民本位”的政治形态;其三则是聚焦于“文化自觉”与“民族精神”的文化形态。三者之间区隔与交叠并存,共同建立起了“中国钢琴音乐民族化”的话语体系。当然,目前的话语营构工作仍呈现为敞开式,既有的理论阐发中也暴露出部分悬而未决的细节问题,如“中国钢琴学派”与“中国乐派”的逻辑关系等。这些留白也为未来的相关理论延展指明了进路。Chinese music underwent an irreversible process of nationalization in the 20th century,which is particularly evident in piano music.Over the past century,discussions revolving around the"nationalization of Chinese piano music"have converged into three main discursive forms:Firstly,the aesthetic form based on the innovation of piano techniques and exploration of form;secondly,the political form,born from the debate on the"nationalization of arts",which emphasizes a"people-centric"approach;and thirdly,the cultural form focusing on"cultural self-awareness"and"national spirit".These three forms,while distinct,overlap and collectively establish the discourse system of the"nationalization of Chinese piano music".However,the current discursive construction remains open-ended.Existing theoretical discussions reveal unresolved nuances,such as the logical relationship between the"Chinese piano school"and the"Chinese music school".These gaps point the way for future theoretical expansions.

关 键 词：中国钢琴音乐民族化 中国钢琴学派 中西结合 人民本位 文化自信 

分 类 号：J624.1[艺术—音乐]