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而今,各种音乐节于我这样一个似曾逢“节”必庆的嗜乐者来说就如同沿街的棋牌室里推倒胡的桌桌麻将一样了无新意。这个因信仰神或神一样的作曲家而肇兴于西方的音乐节在形式上与我国1949年以前的梨园堂会和1949年以后的文艺汇演虽然是趋同的。但究其中西二者各自的音乐内容所雾化出来的情怀以及源此情怀所润凝的人之精神在本质上又是有些许差异的。这种差异当然是做为不同社会形态中的人这一客观主体在漫长的社会意识形态的塑形中与世
Nowadays, various music festivals are just as new to me as a soliloquist who seems to be celebrating every day. This music festival, which has become popular in the West for believers in God or God-like composers, is similar in form to the Liyuan Church before 1949 and the art show after 1949. However, there is a slight difference in essence between the feelings that the musical content of both China and the West have atomized and the spirit of the person who has been sourced from this feeling. This difference, of course, is that as an objective subject of people in different social formations, in the long shaping of social ideology,