作为一种文学行动的革命音乐,在建构历史中先天承担着救亡意义,成为一个自身不断建构的场域。音乐的绝对情境化、代偿性行动的仪式快感和情感召唤、叙事抒情与激昂情绪,使音乐叙事与历史事件的直接言说似乎更为疏离,却不断巩固着革命精神传统的叙事。而对民间叙事土壤的天然借用,不仅含有对民间的庇护承诺,也包含对个体自我实现即自我救赎与救赎他人的承诺。由此可以认为,场域的思想信念的外部巩固和内部主体的自我确证需求,是革命音乐叙事成为从中国音乐现代化进程开始到新时期的主流音乐表达的主要原因。 Revolutionary music, as a kind of literary action, has inherently saved the meaning of salvation in the history of construction and has become a continually constructed field for itself. The absolute contextualization of music, the ritual pleas and the emotional summons of compensatory actions, the narrative lyricality and the heated sentiment make the direct narration of music narration and historical events appear to be more alienated, but the narration of the revolutionary spiritual tradition is constantly being consolidated. The natural borrowing of the folk narrative soil not only contains the promise of asylum to the people, but also contains the promise of self-actualization, that is, self-salvation and redemption of others. From this, we can conclude that the external consolidation of ideological and beliefs in the field and the self-confirmation demand of internal subjects are the main reasons why the revolutionary musical narration has become the mainstream music expression from the process of Chinese music modernization to the new era.