摘要
文章用音乐政治学原理与方法,通过当时官媒报道、档案史料、各界评论史料,回顾与论述中苏"蜜月期"(1954-1960)所发生的音乐外交事件,还原钢琴大师李赫特访华演出的始末,阐述其访华演出的政治意义、社会影响。文章认为,李赫特在中国的演出,强化与促进了我国音乐创演中社会主义现实主义传统与中国音乐的民族性。文章认为,我们可以借鉴苏联时期音乐外交逻辑,来丰富区域国别学研究的中国音乐维度,以促进中国音乐的民族性("中国风味")创演风格的传承。
Using the principles and methods of music politics,the article reviews and discusses the music diplomacy events in the Sino-Soviet honeymoon period(1954-60)through the official reports,archives,and various commentaries.Based on the representation of Richter's visiting process,the author explains its political significance and social impact,i.e.,it strengthened and promoted the tradition of socialist realism and nationality of our music creation and performance.The author sug-gests that the borrowing of the idea of the music diplomacy in the Soviet period would not only enrich the area of Chinese music in the researches of regional country studies but also promote the creation and performance of Chinese national style and taste works.
作者
明鑫
Ming Xin;Zuo Zhenguan
出处
《北方音乐》
2024年第3期56-65,共10页
Journal of the Northern Music
关键词
中苏"蜜月期"
李赫特
音乐政治学
音乐外交
Sino-Soviet"honeymoon period"
Richter(CBaToclaB TeopuOBHy PuxTep,Sviato-slav Teofilovich Richter,1915-1997)
music politics
music diplomacy
