摘要
在此前的中国新音乐思潮研究中,学界曾将"吕贺之争"解读为无产阶级与资产阶级音乐思潮之争或"救亡派"与"学院派"之争。其实不然。如将"吕贺之争"放置到马克思主义文艺观中国化和音乐艺术对象化的历史进程中加以观察,其实质性的理论内核乃是马克思主义音乐观的异化和反异化之争。
In current Chinese new music thinking research, scholars once understood the dispute between Lv and He as the dispute between proletariat and bourgeoisie music thinking or the dispute between salvation school and academism school. However, if we put the dispute between Lv and He in the historical course of the Sinicization of Marxism literary view and objectification of music art, we could say that the essential and theoretical core of the dispute between Lv and He is dissimilation and anti - dissimilation of Marxism music view.
出处
《艺术百家》
CSSCI
北大核心
2017年第1期1-8,13,共9页
Hundred Schools In Arts
基金
2014年国家社会科学基金艺术学项目"马克思主义文艺观与中国近现代当代音乐思潮"(项目编号:14BD034)阶段性成果之一
