A Study Of Female Theme Songs In New China From 50 To 70 's

The new China establishment to reform and opening up the past thirty years, thecomposer by women theme to expres self aesthetic experience of songs reflected inthe specific historical stage of social development China song culture arts andaesthetic spirit. In the thirty years, the particular social and historical periods isshown by the principal contradiction and by different ideologies, political movementsand administrative intervention, the creation of such songs showing two stages ofdevelopment： The first stage is, founding of New China,17years before,This time isimportant to the socialist system over time. With the new democratic revolution andthe completion of the transformation of the three, the government has formulated aseries of laws and policies to safeguard women enjoy equal political, economy withmen, cultural rights, and in succession "five four" the spirit of the "new woman"development at the same time, the female was more as "half the sky" attitude, theheroines, labor model theme song creation, become the main object was thecomposer of aesthetic consciousness and aesthetic experience expressiontransformation. The second stage:"during the Great Cultural Revolution" to thereform and opening up. In the "class struggle" became the guideline of all actions,the image of women has gradually started to close political, like "doesn’t love beauty,love armed","iron girl" as the image of the woman warrior became the main objectof female song writing.Before the founding of new China thirty years female theme song is the art productof the specific social historical period is formed in the process Chinese socialmodernity exploration and transformation of. This article adhere to Marx theory ofhistorical materialism as the guide on the macro level, based on the Chinese musicaesthetics development history in the perspective of research, and combined withthe analysis of specific music case as the theoretical support. The art features: Themelody in the female voice; Female image shaping phonological-in meaning; Singingand sing the female feelings. The new China establishment to reform and opening upin the nearly thirty years of ups and downs, China social status. Seventeen years ago, which showed the greatest appeal is to liberate and develop the productive forces,and continuously meet the people’s growing material and cultural needs, to betteraccomplish the historic task of the primary stage of socialism. Women also shoulderthe same historical task~from "family man" into "social people", is a concretemanifestation of the art carrier they set an example by personally taking part,favorable and female song writing became artists aesthetic experience in aestheticexpression, expression of the artist and reflect the social and historical aesthetic idealhas a more direct role. With the convening the eight CPC session,"class struggle"consciousness is pushed to the extreme, the Cultural Revolution broke out, the "classstruggle" as the guideline of all action "in politics, above all the tide of the coerced, inthe times are different, men and women are the same1slogan promotion the femaleimage, gradually began to political trend," images of women as "don’t love red lovearmed" like and turned into the main theme composer writing object that aestheticexperience expression. Although, at that time in the expression of the female imagesand female subject to grasp, composer in the expression of aesthetic experienceshows the aesthetic appeal and expression in different ways, which has its deephistorical roots, characteristics of the development of things dictated and specificsocial period. This is because the diversity that decides the necessity China societyreflected in the exploration and Research on women’s issues on the road. Therefore,from the China music aesthetics history perspective to make a study of the thirtyyears before the founding of female theme song, in kernel cause aesthetic changesthe hope of dialysis such musical forms and for Marx’s historical materialismevidence, then mining features at this time Chinese female theme song has and itsaesthetic significance, this is in this study the purport.The article is divided into three chapters, the first chapter "50-70time, differentwriting" new Chinese women theme songs, mainly from the historical context offormation and development of new Chinese establishment to reform and opening upbefore and during this period the female theme song background description, andthe reasons for the formation of different stages of development of the formation ofthis kind of music form to do an in-depth study. Fifties Chinese women to the socialist path beginning period, is Chinese socialist women turning period.60years ofChina women, and male participate in socialist construction groups, to reach the mendo women also can be done, the description of the women to hold up half the sky"female strong person"; The second chapter "50-70’s artistic expression, Chinesewomen theme song, this chapter is the core of this thesis, based on the combinationof historical materialism of Marx, Chinese music aesthetics development view,classical aesthetics form has from linear melody in the exploration of female subjectto the grand narrative,"half the sky","iron the girl","love armed" like female feelings,and then to the social consciousness and individual consciousness under theimbalance of women live in these three aspects, and sums up50,60, artistic featuresChina female theme song70’s shown in the history of the development of musicaesthetics perspective; The third chapter "50-70’s, social significance and value"China women theme song, to Chinese music aesthetics history reveals thesignificance of spiritual new aesthetics after the founding of new Chinese formed ofChinese aesthetics development, with the female theme song as the object of studyin proof carrying music aesthetics development construction Chinese characteristicscultural significance. In order to promote the development and construction of thenew socialist culture China.