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Figures of the Chinese Landscape: A Study of Instrumental Music, 1978-1989.

机译：中国山水人物：器乐研究，1978-1989年。

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摘要

In the early 1980s, when China was newly opening itself to the outside world, there was, in musical composition, a contrary movement towards the interior. In titles, programs, and interviews, images of rustic places---villages, mountains, forests, valleys---appeared across different genres (chamber music, song, opera) and styles (pentatonic-tonal, atonal, experimental). Composers favored the most diverse, wild, and inhospitable parts of China: the landscapes of the South and West. This unusual and novel tendency became part of a general shift in artistic mood that musicologist Wang Anguo christened the New Wave (Xinchao) in 1985. The era's turn towards the countryside has been noted by musicians and commentators, but has not yet received a full-length study. The present dissertation seeks to fill this gap and address a fundamental question about the period: what were these composers seeking in the remote countryside, and what did they find in the end?;The primary question is addressed through an analysis of instrumental works, their titles and programs, composer interviews, and secondary sources. Inspired by the New Wave music itself, by the notion of the colophon or tici from Chinese painting, and by the ecocriticism movement in the humanities, my analysis is wide-ranging, eclectic, and improvisational in method. A single theme binds together its disparate strands: the theme of personal journeys into (wild or rural) landscapes. The idea of a journey, inspired by C.S. Lewis' "logic of the fairy tale," implies a story or myth by which the person and the landscape are related to each other in a particular away. In some instances, the person involved is the imagined subject of a programmatic composition; in others, an ideal listener. The fluid concept of landscape is used in a way that highlights its embedded, nameable, and reciprocal qualities. Finally, the key term "figures" summarizes the variously personal character of the project and the nature of the results intended; the results of each chapter are also summarized in a convenient form that resembles a Bloom-esque "revisionary ratio" or, alternately, a rhetorical figure.;The work is divided into an introduction, five body chapters, and a conclusion. The introduction briefly defends the desirability, scope, limits, and character of the project. Chapter 1 situates the present work in the literature and takes a broad historical view of the New Wave movement and its interest in rural places in the South and West. It argues that this interest was distinctive from other representations of Chinese landscapes in contemporary literature as well as from earlier modern music, and that its distinctive quality resides in the strongly positive and liberating image of nature it offers. Chapters 2 to 4 complicate the general picture with close readings of individual works by Chou Wen-chung, Zhou Long, Qu Xiaosong, Mo Wuping, and Guo Wenjing. These are all landscape pieces on various levels, from word-painting and implied programs to formal and technical analogues to regions or to Nature as an entity. Chapter 5 is a mirror image of the first chapter. Instead of emphasizing positivity and liberation, it hints at the New Wave's fascination with the ancient, mystical, fantastical, and bizarre. The method used is more deliberate and artificial than previous chapters: the "landscape" portrayed is that of the musical imaginary of the whole period, revealed by means of a survey of over five hundred musical titles. The chapter also offers the dissertation's only extended discussion of methodology by proposing a subversive recasting of Franco Moretti's "distant reading" for the purposes of re-enchantment. Finally, the conclusion summarizes the work and provisionally asks whether an understanding of the landscape theme can lead us to a deeper grasp of the New Wave period in general: not as a national or music-stylistic movement, but as a new manifestation of Romanticism.
机译：在1980年代初，当中国刚刚向外界开放时，在音乐创作方面出现了向内饰相反的运动。在标题，节目和访谈中，乡村风格的图像-村庄，山脉，森林，山谷-出现在不同流派（室内音乐，歌曲，歌剧）和风格（五音调，无调，实验性）上。作曲家偏爱中国最多样化，最野生，最荒凉的地区：南方和西方的风景。 1985年，音乐学家王安国（Wang Anuo）将新潮命名为“新潮（Xinchao）”，这种不寻常且新颖的趋势成为了整体艺术情绪转变的一部分。音乐家和评论员注意到该时代的乡村风情，但尚未得到完整的长度研究。本论文旨在填补这一空白，并解决有关这一时期的一个基本问题：这些作曲家在偏远乡村寻找什么，他们最终发现了什么？；主要问题是通过对器乐作品，他们的作品进行分析来解决的。标题和节目，作曲家访谈和次要资源。受到新浪潮音乐本身，中国绘画的提洛芬或提克的观念以及人文生态批评运动的启发，我的分析方法广泛，折衷和即兴。单个主题将其不同的部分捆绑在一起：个人旅行（野生或乡村）景观的主题。旅程的概念是受刘易斯（C.S. Lewis）的“童话逻辑”启发的，它暗含着一个故事或神话，人与风景在特定的距离内彼此相关。在某些情况下，所涉及的人是程序组成的想象对象；其他人则是理想的听众。景观的流畅概念以突出其嵌入，可命名和相互的品质的方式使用。最后，关键字“数字”概括了项目的各种个人特征和预期结果的性质；每一章的结果也以一种方便的形式进行了总结，类似于Bloom式的“修订比率”，或者是一个修辞性的人物。该工作分为引言，五个正文部分和一个结论。简介简要捍卫了项目的可取性，范围，限制和特征。第1章介绍了当前的文献工作，并对新潮运动及其对南部和西部农村地区的兴趣进行了广泛的历史考察。它认为，这种兴趣与当代文学中的其他中国风景表现形式以及早期的现代音乐截然不同，并且其独特的品质在于它所提供的强烈积极和自由的自然形象。第2章至第4章通过仔细阅读周文中，周龙，屈小松，莫武平和郭文静的个人作品来使总体情况复杂化。这些都是各个级别的景观作品，从文字绘画和隐含程序到形式和技术类似物，再到地区或作为一个整体的自然。第5章是第一章的镜像。它没有强调积极和解放，而是暗示了新浪潮对古老，神秘，幻想和奇异的迷恋。与前几章相比，所使用的方法更加刻意和人为：通过对五百多种音乐作品的调查显示，所描绘的“风景”是整个时期音乐想象中的风景。本章还通过重新颠覆弗朗哥·莫雷蒂（Franco Moretti）的“远距离阅读”以求重新着迷的目的，提供了论文对方法论的唯一扩展讨论。最后，结论总结了工作，并临时提出了对风景主题的理解是否可以使我们更全面地把握新浪潮时期：不是作为民族运动或音乐风格运动，而是作为浪漫主义的新体现。

著录项

  • 作者

    Judd, Aaron Fitch.;

  • 作者单位

    Yale University.;

  • 授予单位 Yale University.;
  • 学科 Music.;Asian studies.
  • 学位 Ph.D.
  • 年度 2015
  • 页码 261 p.
  • 总页数 261
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类
  • 关键词

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