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中国古代音乐史中,最初是以神话传说中女娲制作乐器笙簧,为众人演奏音乐为开始的。之后战国时期,齐国的女性歌手韩娥,汉代的七弦琴名手卓文君和蔡文姬,也都是历史上有名的女性音乐家。然而,因为受到传统封建礼教思想的约束,我国古代的女性音乐教育形式主要是宫廷音乐教育,目的是为了统治阶级消遣娱乐的音乐演出,是以,在音乐创作方面鲜见女性的出彩之处。本论文以中国近代出现的女性音乐家为研究对象,进而研究近代中国女性音乐教育的发展过程,并以此为出发点探讨面对女性的近代音乐教育应如何发展。
In the history of ancient Chinese music, the beginning was based on myths and legends Nuwa making musical instruments spring, for the public to start playing music. After the Warring States Period, Qi female singer Han E, the Han Dynasty violinist Zhuo Wenjun and Cai Wenji, are also well-known female musicians in history. However, because of the restriction of the traditional feudal ethics, the ancient form of female music education in our country is mainly court music education. Its aim is to rule the music performance of the entertainment and entertainment of the class. Therefore, there are few outstanding women in music creation. This dissertation takes the female musicians appearing in modern China as the research object, and then studies the development process of female music education in modern China. From this point of view, it discusses how to develop the modern music education in the face of women.