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歌剧的民族化是近代以来我国音乐界一直着力之处,但由于其创作的环境(国统区、根据地)、面对的观众(社会精英阶层、底层大众)、所承担的主要任务(宣传任务)等各有不同,导致了从文学基础到音乐形态的诸多不同,直到1949年后随着音乐界两大力量的汇合才开启了歌剧民族化新的历史时期。与国统区相比,根据地—解放区的歌剧创作不仅数量较多,更被赋予宣传革命、发动群众的任务,在民族化、大众化方面有不少大胆的尝试,本文论述的两幕歌剧《钢铁与
The nationalization of operas has always been the focus of our music industry in modern times. However, due to the environment of its creation (the National Unification Area and the base area), the spectators (the social elites and the general public), the main tasks (propaganda tasks) and so on Each has its own differences, resulting in many differences from the literary foundation to the musical forms. Only after the merger of the two major powers of the music industry after 1949 opened up a new historical period of nationalization of opera. Compared with the National Assembly area, the base area - the liberated areas of opera creation is not only a large number, but also was given the mission of propaganda revolution, mobilization of the masses, there are many bold attempts in the nationalization and popularization of this opera two opera "Iron and Steel and