对器乐演奏文化之独特性界定的重新思考  

Rethinking the Unique Definition of Traditional Instrumental Performance Culture in the Future

作　　者：刘嵛 LIU Yu(Odessa State Conservatory of Music,Odessa,65026,Ukraine)

机构地区：[1]乌克兰敖德萨国立音乐学院,乌克兰敖德萨65026

出　　处：《文化创新比较研究》2024年第18期171-175,共5页Comparative Study of Cultural Innovation

摘　　要：器乐演奏作为音乐文化构成中极为重要的领域,其发展与变迁一直是音乐人类学文化研究中的一个重点。故而,对于从事音乐演奏事业的专职人员,或正在学习器乐表演专业的学子,其关注的焦点就不能仅局限于演奏技术、器乐制作或性能开发等层面,而需从更为宏观的人文情景出发,尤其在当今智能科技迅速崛起并不断普及的时代背景下去思考演奏行为本身,通过与社会人文相联系的视角,实事求是地对演奏行为自身的独特性进行清晰的自我界定,为其未来发展规划出一条与时俱进的方针,这对我国音乐表演专业的发展与普及具有极为客观的现实意义。Instrumental performance,as an extremely important field in the composition of music culture,its development and changes have always been a focus of cultural research in music anthropology.Therefore,for full-time personnel engaged in the music performance industry or students studying instrumental performance,their focus should not be limited to performance techniques,instrumental production,or performance development,but should start from a more macro humanistic context,especially in the context of the rapid rise and continuous popularization of intelligent technology.Through a perspective connected with social humanities,they should clearly define the uniqueness of their performance behavior and plan a progressive policy for their future development.This also has extremely objective practical significance for the development and popularization of music performance in China.

关 键 词：音乐表演 器乐演奏 艺术发展 文化革新 当代文化视野 艺术与人文 

分 类 号：J632[艺术—音乐]