摘要
20世纪20年代随着对西方音乐有了更深一步的了解,国人开始探索新的音乐创作方式,学习西乐、借助西乐、改造中国音乐的思想进一步深化。音乐期刊作为新兴媒体,是当时社会音乐生活的一面镜子,折射出当时音乐发展的基本状况;也是当时社会环境下音乐思想碰撞交流的主要阵地,无论是国粹思想、西化思想、改良思想等,都在这里博弈交戈。这使得中国近现代音乐文化发展中不甚起眼的过渡阶段,在很多思想尚未得到沉淀,好多做法还未来得及验证,甚至历史学家都无法给出一个确切评价的情况下,忠实地记录了这个时代的音乐文化成果,让后人可以从中真切地了解这个时代的音乐先贤们做出的努力和追求,显现出了这个时代音乐文化的大致景观。
In the 1920s,with a deeper understanding of Western music,Chinese people began to explore new ways of music writing,and the idea of learning Western music,using Western music,and reforming Chinese music was further deepened.As a new media,music journals were a mirror of social music life at that time,reflecting the basic situ ation of music development.It was also the main front for the collision and exchange of music ideas in the social environment at that time.Whether it was the national quintessence thought,westernization thought,reform ideas and so on,they all battled here.This transitional period,which made the development of modern Chinese music culture less impressive,faithfully recorded the achievements of music culture in this era under the condition that many ideas have not been settled,many practices have not been verified,and even historians can not give a precise evaluation.The achievements of music culture of this era allow future generations to truly understand the efforts and pursuits made by the music sages of the time,showing the general landscape of music culture.
作者
王青
杨华丹
Wang Qing;Yang Huadan
出处
《南京艺术学院学报（音乐与表演版）》
北大核心
2021年第3期15-21,I0005,共8页
Journal of Nanjing Arts Institute:Music & Performance
基金
教育部人文社科一般项目“中国音乐期刊的发展历史研究”(项目编号:14YJA760012)阶段性成果之一。
