摘要
近代中国音乐自学堂乐歌勃兴始。辛亥革命时期的学堂乐歌大都是选用外来音调加以填词,注重的是音调的情绪和意境,不论外来歌词表达的政治立场和社会情绪,表现出在音调上独立审美、追求"自由美"的倾向。这种现象其后也极为普遍。显然,音调是可以游离文本内容而独立审美的。由于历史的原因,美育在中国没能生根发芽,音调从属于概念,成为"附属美",在很多情况下沦为工具,直至在文革中发生对无标题音乐大肆挞伐的闹剧。承认音调是可以独立审美的,是美育在音乐领域里的具体体现。音调是可以独立审美的命题并非强调音调一定要独立审美,要尊重每个人根据自己的阅历和教养寻找并自由地享用"这一个";要防止的是利用公权力强行推广与美育格格不入的"颜色文艺"。
The modern Chinese music derived from the beginning and developing of the School Songs.Most of the School Songs were selected the exotic tunes and written lyrics for them,which stressed the mood and artistic feeling of the tunes,ignored the politics positions and social emotions of the original lytics expressed,showed the tendency of independent aesthetic for tunes and pursuit ＂the beauty of freedom＂ during the Revolution of 1911（the Chinese bourgeois democratic revolution led by Dr.Sun Yat-sen which overthrew the Qing Dynasty）.This phenomenon was also very common.Obviously,the tunes can be independent aesthetic without the text.For historical reasons,the aesthetic failed to take root in China,the tunes subordinate to the concept as subsidiary of beauty,which become a tool in many cases,until to an ignoble farce that potshot at absolute music during the Cultural Revolution.To recognize the tunes can be aesthetic independent is the concrete embodiment of aesthetic education in the field of music.The proposition that tunes can be aesthetic independent is to respect individual person＇s interest according to their own experience and education to find and free to enjoy ＂this one＂ rather than to emphasize the tune of the aesthetic must be independent;the author proposed the conception that to prevent to use the public power forced promotion ＂color art＂,which was out of harmony with aestheticd education.
出处
《黄钟（武汉音乐学院学报）》
CSSCI
北大核心
2011年第4期86-92,共7页
Huangzhong:Journal of Wuhan Conservatory of Music
关键词
自由美
附属美
美育
音调
学堂乐歌
独立审美
the beauty of freedom
subsidiary of beauty
aesthetic education
tunes
School Songs
be aesthetic independent
