論「冼星海」神話符號之形成
Discuss the process of
how Xian Xinghai became a symbol and a myth
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本文投稿於：
同濟大學研究生會《楓林學苑》第十五輯
2012.3＼同濟大學
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摘要
冼星海為中國近代著名作曲家，但其相關研究受限於政治影響，未盡客觀全面。自兩岸分治以來，國民黨政權視冼星海為禁忌，時至解除戒嚴方才鬆懈；中共則視冼星海為「人民音樂家」，以神話包裝，失去人物及作品原貌。本文探討在中共政權下，冼星海如何從真實人物轉為神話符號，從而影響音樂學研究失真，主論分三方面：首先透過現今冼星海雕像，觀察視覺形象的改變；其次剖析意識形態如何強行介入冼星海的形象；再從一九五０年代末期《人民音樂》之「評價問題」筆戰中，解析此神話符號樹立權威，成為我國近現代音樂學術研究失焦的盲點。
關鍵字：中國近代音樂、政治文藝、意識形態、文化研究
Abstract
Xian Xinghai was a famous modern music composer in China. However, his research had been limited by politics and as such the assessment of his pieces were not entirely objective. The Chinese government was split between the Central People’s Government and the Nationalist Government. During that period, the Nationalist Government regarded Xian Xinghai as a taboo until when martial laws surrounding him started to relax. Xian Xinghai was named the “people’s musician”, a contrast from the perception of him by the Central People’s Government. According to the myth, packaging resulted in the loss of the character of his orginal works. In the myth, Xian Xinghai discusses how the the change from real character to symbol and myths resulted which affected the distortion of music studies. The main content was divided into three aspects. Firstly, an analysis of her presentation of the visual image by looking into his statue and changing its image by analysis of ideology. Secondly, an analysis of the ideology force involved in the image of Xian Xinghai. Thirdly, an analysis of the establishment of symbol and myth from the debate in the “evaluation” of the “People’s Music” in the late 1950s, which pointed out the blind spots of the research.
Keywords: modern Chinese music, political art, ideology, cultural studies
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註：文檔為未出版稿本，僅供參考。
