摘要
在20世纪中国音乐批评史上,围绕黎锦晖的儿童音乐剧和流行歌曲创作的批评和争议,包括黎锦晖自己的阐述、辩解乃至检讨,形成了一个重要的音乐批评现象,此现象贯穿时间很长,影响很大,意义也超出了现象本身。聂耳、贺绿汀等音乐家对黎锦晖的批评更是左翼音乐批评崛起的一个重要标志。在"五四"新文化价值取向的背景下,重读并客观分析这一场批评争议,可以发现,黎锦晖的音乐思想具有"五四"平民精神,其流行音乐创作是中国音乐最早的高雅音乐大众化、通俗化、商业化的代表,具有浓郁的都市气息、市民气息、娱乐性甚至商业价值。在大众文化已不再被目为低俗,流行音乐广受欢迎的今天,我们更有必要重估黎锦晖的价值与启示。
In China＇s history of music criticism of the 21^st century, the criticism and controversy surrounding Li Jinghui＇s composition of musicals for children and pop songs, including his expounding, rebuttal and eventual self-criticism, have resulted in an important phenomenon of long duration in music criticism and of a significance that transcends the domain of music. Moreover, the criticism of Li by composers such as Nie Er and He Luting is one of the important marks of the rise of left-wing music criticism . By rereading and objectively analyzing this controversy in the light of the May Fourth Movement＇ s ethos of a new culture, we can see that Li Jinghui＇s ideas on music contain germs of the aforementioned movement＇s spirit of the masses and his pop music is typical of the popularization, commercialization and catering to the masses of elitist music. It has a strong urban bourgeois flavor and is of a high entertainment and commercial value. Today, when mass culture is no longer seen as vulgar and pop music is so popular everywhere, it is necessary to reappraise Li Jinghui＇s value as a revelation.
出处
《美育学刊》
2015年第6期61-66,共6页
Journal of Aesthetic Education
关键词
“五四”新文化
黎锦晖
平民
启蒙
流行音乐
音乐批评
new culture of the May Fourth Movement
Li Jinghui
masses
enlightenment
pop music
music criticism
