“新音乐”表演观念与实践解析  

Analysis of the Performance Concept and Practice of"New Music"

作　　者：范晓峰[1] Fan Xiaofeng

机构地区：[1]南京艺术学院,江苏南京210013

出　　处：《南京艺术学院学报（音乐与表演版）》2023年第6期1-8,I0004,共9页Journal of Nanjing Arts Institute:Music & Performance

基　　金：南京艺术学院交叉学科“音乐元宇宙”创新团队阶段性研究成果。

摘　　要：近代中国“新音乐”表演观念和实践并非单纯的艺术观念,从“新音乐”在当时社会所产生的作用和影响力来看,并不是今天人们所认知的纯粹艺术范畴,而是与当时社会现实、经济发展状况、生产力发展水平、教育现状(美育)、社会风尚习俗等密切相关的整体性社会范畴。本文提出“新音乐”三大表演观念:即“新音乐”作为参与当时社会文化变革的表演观念,“新音乐”作为推动社会现实主义的表演观念,“新音乐”作为探索艺术音乐的审美表演观念。三大观念共同构筑起近代中国“新音乐”整体的表演观念与实践。The performance concept and practice of"new music"in modern China are not simply artistic concepts.From the perspective of the role and influence of"new music"in the society at that time,it is not the artistic category recognized by people today,but a holistic social category closely related to the social reality,economic development status,productivity development level,educational status(aesthetic education),social customs and traditions of that time.This article puts forward three major performance concepts of"new music":"new music"as a performance concept participating in the social and cultural changes of the time,"new music"as a music performance concept promoting social realism,and"new music"as an aesthetic performance concept exploring art music.The three major concepts together construct the overall music performance concept and practice of modern Chinese"new music".

关 键 词：“新音乐” 音乐表演观念 社会文化变革 集体本质 个体本质 

分 类 号：J601[艺术—音乐] J609