摘要
自《何日君再来》问世(1936-37年间),在此曲耄耋之年(2015年7月22日)——近80年后,又值刘雪庵冥诞110周年之际,受到"最高礼遇";而在2000年前,它基本被冠以"黄色歌曲"、甚至有"汉奸歌曲"的骂名,但2005年纪念刘雪庵诞辰100周年之时,形势陡转,它被称为"里程碑"或"继往开来"式歌曲;虽在大陆各卡拉OK歌厅,依然能点唱此歌,但在正规舞台、音乐厅、剧院等表演场所却难觅"芳踪";围绕此歌,各种评论、批判,纷至沓来,其中,以各种立场、角度、观点形成的各异评判本身,就是非常值得研究的文化类目,而吸引评论者、演唱者、音乐爱好者眼球的,绝不仅限歌曲本身;作者以独特视角,对该歌进行多立场阐释,虽在其中,涉及多种方法论,但作者不以其为枷锁——带着镣铐跳舞,而是点到为止,从而显现出论题与各方法论之间的天然联系及相通的内在理念;而重中之重,为"庄谐并重"、"音乐绝非亡国之因"、抗战期间,民国政府合法否?等理念的提出及诘问;显然,在两岸携手纪念世界反法西斯战争胜利70周年、并共同践行《波茨坦公告》成果的今天,"超越党派",来得更为重要。
Since its debut around 1936-1937 the popular song When the Gentleman Will Come Again(He Ri Jun Zai Lai) received its highest cour tesy on July 22, 2015 during the 110 th anniversar y of the bir th of its composer, Liu Xuean. But before the year 2000 the song had been labeled as a 'yellow song'(a song with sexual under tone), sometimes even as a 'traitor song'. For a long time When the Gentleman Will Come Again could be sung only in private par ties and KT Vs and vir tually unheard on official stages and concer t halls. The numerous reviews and criticism is a cultural phenomenon wor th good effor ts of research.
出处
《南京艺术学院学报（音乐与表演版）》
北大核心
2015年第4期94-100,108,共8页
Journal of Nanjing Arts Institute:Music & Performance
关键词
何日君再来
多种情怀
庄谐并重
划时代
When the Gentleman Will Come Again
milestone
above political interest
