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华中师范大学 硕士论文 导师：李方元

中文摘要 本文试图对我国近现代音乐史后期的一个重要音乐社团——“山歌社”的活动历史进行梳理与评价。笔者通过查找大量的历史资料、采访相关当事人、通过对资料的归类整理与综合分析,在构建一个“山歌社”专题性历史叙述框架的基础上,探究“山歌社”活动的历史背景、独特贡献与深远影响。 本文共分五章、按四个部分来写作。第一部分为第一章绪论,研究“山歌社”成立的历史背景,主要讨论“五四”运动以来国内民歌研究的历史发展脉络以及“山歌社”所处的文化、学术背景。 第二部分为第二章“山歌社”活动史实研究一章,按时间线索把“山歌社”的活动分为“青木关时期”、“遵义时期”和“南京时期”来进行史实研究; 第三部分为第三章“山歌社”音乐教育活动研究、第四章“山歌社”的音乐表演及音乐理论活动研究以及第五章“山歌社”的音乐创作及民族化和声理论活动研究。主要是对“山歌社”的音乐活动分专题进行整理和评价。 第四部分为第六章结语,对“山歌社”的音乐活动作总体评说,目的在于引出“山歌社”的活动对于现实的借鉴意义。  

英文摘要 The thesis studies the course of musical activities of Shangeshe in the State Concervatory of music during the Chinese War of Liberation. Based on forming the framework for the monographic study of Shangeshe, the essay makes the thorough inquiry for its historical background, the unique contribution and the profound influence by searching for a large number of historical data, interviewing some participants and analysing the reference materials.This paper can be devided into four parts. The first part is the first chapter, the introduction, studies the historical background of Shangeshe's activities. It provides the development clues of folk song's study since the May 4th Movement of 1919 and the cultural and acadmic setting of Shangeshe's practices.Aimed to introduce Shangeshe's historical facts, the second part is the second chapter, the study of Shangeshe's historical facts, In the second chapter, the study of historical facts is unfolded according to its chronological sequence, such as the Qingmuguan period, the Zunyi peroid and the Nanjing peroid.Constituted of the third chapter, Shangeshe's musical education activitiese, and the fourth chapter, Shangeshe's musical performances and the musical theory activities and the fifth chapter, Shangeshe's musical composition and the harmony theory of Chinese, the study is developed by its special subjects and wants to comments on Shangeshe's musical exercises.The fourth part is the last chapter, the conclusion . In order to point out the practical significance of Shangeshe's musical activities, the sixth chapter draws a conclusion on its musical concrete practice.