主体性、主体间性与共同主体性——论延安时期音乐大众化实践主体的嬗变

Subjectivity,Intersubjectivity and Common Subjectivity--On the Evolution of the Main Body of Music Popularization Practice during the Yan'an Period

20世纪三四十年代,延安的音乐大众化活动发生了从“大合唱运动”到“新秧歌剧运动”的文艺转向。这一转向的背后,隐含着延安音乐大众化实践主体的嬗变过程。在政治意识形态话语的引导、规训和询唤下,鲁艺的音乐工作者与边区的工农兵群众以音乐大众化的创作与审美为中介,逐渐从主客体的对象性关系演化为主体间性的互动性关系,并在“新秧歌剧”的创作语境中结合为延安音乐大众化实践的共同主体。

In the 1930s and 1940s,the music popularization activities in Yan'an underwent a literary shift from the"Cantata Movement"to the"New Yang Ge Movement".Behind this shift the evolution process of the main body of Yan'an music popularization practice was implied.Under the guidance,discipline,and inquiry of political ideology discourse,the Lu Xun Arts Institute musicians and the masses of workers,peasants,and soldiers in the border area gradually evolved from the objective relationship of subject and object to the interactive relationship of intersubjectivity through the creation and aesthetics of music popularization,and combined into the common subject of music popularization practice in Yan'an in the creation context of"new yang ge opera".