江蘇柳琴戲傳承模式的考察與文化研究.pdf

1、新疆師范大學(xué)碩士學(xué)位論文江蘇柳琴戲傳承模式的考察與文化研究姓名：高宏菊申請學(xué)位級別：碩士專業(yè)：音樂學(xué)指導(dǎo)教師：管建華2009-06-14IIAbstract Liuqin drama, commonly known as Lahun air, originated in Qianlong period of Qing dynasty and was distributed at the junctu

2、re of four provinces of Jiangsu, Shangdong, Henan and Anhui. It has a history of more than 200 years. This paper, through examining Liuqin drama’ s scattered areas, historical development, cu

3、ltural context, transmission and heritage mode, and through studying its cultural changes, explores the social cultural values of the existence of Liuqin drama and the significance of its prot

4、ection and its transmission and heritage, and probes into the means for Liuqin drama’ s survival and development in present social cultural environment, therefore further examining the deficienc

5、ies of traditional culture in Chinese music education. This paper is made up of four parts. The first part is a brief account of Liuqin drama. It analyzes from four aspects：Liuqin drama’ s

6、origin, vocal music, repertoire and accompaniment to understand the historical and cultural course of its development. The second part is Liuqin drama’ s transmission and heritage mode. Accordin

7、g to Liuqin drama’ s synchronical development, it makes an examination of Liuqin drama’ s transmission and heritage from four aspects: folk, professional and amateurish transmission and heritage and medi

8、a propagation to seek for the idea of its future development. I t also puts forward the conception to realize Liuqin drama’ s audio- visual effects. The third part is Liuqin drama’ s cultural

9、 studies. It makes cultural researches on Liuqin drama’ s cultural awareness, social function and dynamic music changes, highlighting the great social significance of local drama in contemporary

10、 people’ s real life. The fourth part is the significance of Liuqin drama’ s transmission and heritage in the localization of contemporary Chinese music education. The focus is to reflect on

11、 the deficiency of traditional music in the contemporary Chinese music education and put forward the idea of bringing traditional local drama into music curriculum of higher education and into

12、 the music classes of primary and secondary school, and further suppose that the institute of higher learning in our country can take up the responsibility to transmit and inherit the local

13、 drama and change the Chinese music e ducation in the “ unified model”of the west, without the local characteristic, making Chinese traditional drama achieve effective transmission and heritage

14、 and healthy development. In the 21st century, we are facing the competition of global economy, culture, technology and talents. The Chinese traditional music has become an important component in our co

15、untry’ s economic development and the precious values of local drama is reflected in its unique cultural identity.. In this circumstance, Chinese music education must make a transition in orde

16、r to nurture the cross- cultural and competitive international talents, not only inheriting Chinese music and studying European music, but also putting the Chinese local music to the world. Th

17、e culture of Chinese drama is the root of our musical language. Maintaining the unique individuality of our country’ s culture is not only a symbol of Chinese cultural identity, but also ma