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Political economy of music in China: The impact of danwei system on luju.

机译:中国音乐的政治经济学:丹威制度对鹿鞠的影响。

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摘要

As a regional Chinese traditional xiqu (musical drama) genre, luju was originally a low-culture performing art popular in Anhui Province in the inland area of eastern China. Over a long period of time, luju formed its own repertories, musical identities, and creation conventions, which reflected the aesthetics of the local peasant audience and its sociopolitical and economical background.; The establishment of the People's Republic of China and the implementation of the Communist Party's cultural policy initiated musical changes in the luju tradition and began the divergence of luju into two styles: a government supported high-culture tradition, reflected in the performances of the state run professional troupes, and a folk tradition continuing in the original low-culture style. The government's intervention in the luju tradition was implemented through the establishment in the 1950s of a institutional system called the danwei work unit, a basic cell in the mechanism of the state-planned economy, in which individuals live, work, and die. This system has directly altered luju artists' social, political, and economic status, and indirectly affected luju's performing and creation processes and its artistic features.; The current incompatibility between the nature of professional troupes as government danwei units formed under previous planned economic system and the social environment formed by the capitalist market economy has triggered contradictions and discontinuity in the organizational system of luju troupes and luju musical tradition itself. The market economic system, under the rigid control of socialist ideology, has resulted directly in the discrepancy between the two luju styles. One is maintaining its political legitimacy, but failing in the competitive marketplace, while the other succeeds in market competition, benefiting financially, but losing political legitimacy.; The current research endeavors to investigate the interrelationship between certain social elements, the danwei system in particular, and the forms of artistic presentation in luju, in order to discover how these two aspects are mutually affected by the changing social context, and to offer new data for ethnomusicological inquiry, with a global perspective on the musical changes brought about under the influence of twentieth century socialist movements.
机译:作为一种地区性的中国传统 xiqu (音乐剧)流派, luju 最初是一种在中国东部内陆地区安徽省流行的低文化表演艺术。在很长一段时间内, luju 形成了自己的曲目,音乐身份和创作惯例,反映了当地农民观众的审美观念以及其社会政治和经济背景。中华人民共和国的建立和共产党的文化政策的实施引发了 luju 传统的音乐变革,并开始将 luju 分为两种风格:政府支持的高文化传统,体现在州立专业演出团的表演中,而民间传统则延续了原始的低文化风格。政府对 luju 传统的干预是通过在1950年代建立称为 danwei 工作单位的制度体系而实施的,这是国家计划机制的基本单元个人生活,工作和死亡的经济。这种制度直接改变了 luju 艺术家的社会,政治和经济地位,并间接影响了 luju 的表演和创作过程及其艺术特征。当前计划经济体制下的专业团体作为政府“单身”单位的性质与资本主义市场经济形成的社会环境之间的不相容性,引发了“ luju”组织制度的矛盾和不连续性。 团和 luju 音乐传统本身。在社会主义意识形态的严格控制下,市场经济体制直接导致了两种“斜体”样式之间的差异。一种是维持其政治合法性,但在竞争激烈的市场中失败,而另一种则在市场竞争中取得成功,在经济上受益,但失去了政治合法性。当前的研究致力于研究某些社会元素之间的相互关系,尤其是丹尾系统与 luju 中的艺术表现形式之间的相互关系,以发现这两个方面受到不断变化的社会环境的相互影响,并为人类音乐学研究提供了新的数据,并以全球视角探讨了在20世纪社会主义运动的影响下带来的音乐变化。

著录项

  • 作者

    Yu, Hui.;

  • 作者单位

    Wesleyan University.;

  • 授予单位 Wesleyan University.;
  • 学科 Music.; Theater.; Anthropology Cultural.
  • 学位 Ph.D.
  • 年度 2000
  • 页码 292 p.
  • 总页数 292
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类 音乐;公共建筑;人类学;
  • 关键词

  • 入库时间 2022-08-17 11:47:39

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