從大公報(bào)看淪陷時(shí)期前、后的天津社會(huì)音樂生活

1、天津音樂學(xué)院碩士學(xué)位論文從《大公報(bào)》看淪陷時(shí)期前、后的天津社會(huì)音樂生活姓名：馮雪申請(qǐng)學(xué)位級(jí)別：碩士專業(yè)：藝術(shù)學(xué)；音樂學(xué)指導(dǎo)教師：靳學(xué)東2010-11-253Abstract Abstract Ta Kung Pao, which was stated by Ying Lianzhi, was published in Tianjin, on July, 1902. Wang Zhilong of Anfu Clique continu

2、ed to operate this newspaper from 1916 to November, 27, 1925. Wu Dingchang, Hu Zhengzhi, and Zhang Jiluan took over the Ta Kung Pao since September, 1, 1926. This newspaper had a broad impact among the bourgeoisie, the u

3、pper petty bourgeoisie, and the intellectuals. On August, 1938, because of the occupation of Imperial Japanese Army, Ta Kung Pao was moved from Tianjin to Hankou to continue publishing. Later, Hankou was occupied by the

4、enemy, and the publishing of Ta Kung Pao was transferred to Chongqing. After the surrender of Japanese Army, Ta Kung Pao was resumed publication in Tianjin, on December, 1, 1945.On January, 1949, Ta Kung Pao was stopped

5、publication at the time of Tianjin Liberation. In this thesis, I try to collect and settle the relevant musical contents of the Ta Kung Pao (from the end of 1935 to the June in 1937, and from the end of 1945 to the Janua

6、ry in 1949). I generalize and analyze all aspects of the social musical cultural life in Tianjin before and after its occupation, including professional music shows, festival ritualistic music activities, music exchange

7、activities, music entertainment, the popularization, and communication of the music knowledge, and a few comments about the development of music in China in modern times. The main body of this thesis consists of three ch

8、apters:In the first chapter, I introduce the social musical life from the end of 1935 to the June in 1937, which is the period of before the occupation of Tianjin in general. In the second chapter, I introduce the social

9、 musical life before the liberation of Tianjin, which is from the December in 1945 to the January in 1949. The detail contents cover western music, traditional Quyi and drama, traditional Chinese music, social music acti

10、vities, and academic music activities. In the epilogue of the thesis, I introduce the characteristic, change, and development history of the Tianjin social musical life of these two periods. Meanwhile, I will do the furt