Theory Of The Soviet Union Music Thoughts Influence On Chinese Music Theory

This article is based on the October Revolution to the Soviet Union during Stalin’sdeath on the theory of macro-musical ideas and the founding of New Chinageneralization to the late fifties early sixties in this period of music thought, analysisof ideas, from the music aesthetics, music criticism two aspects of the Soviet ideologyof the 1950s, Chinese music, music thought to study the effects in a search for thisperiod of Chinese music thought traces the impact of the Soviet musical discourse.December 22, 1949, "Sino-Soviet Treaty of Friendship, Alliance and MutualAssistance," showing the signing of Chinese foreign policy, "one-sided" to theSoviet-led camp of socialist countries, not only in the economic development modelto follow the Soviet Union, and Soviet of culture, especially music and culturalattitudes have a direct impact on music after the founding of the CPC developmentpath of thinking in order to establish a series of policies to ensure that the musicalculture of socialist realism along the road of capitalist development from the erosionof formalism with the poison, the move to the new China was founded in all aspectsof music culture had a profound impact, and the field of music thought such as musicaesthetics, music criticism music school ideas of these two subjects show the impactis evident to practice in the field of music gave rise to the corresponding reflection, sothe 1950 years of Chinese music thought will be engraved on the Soviet brand ofmusical ideas, the Soviet music, music thought discourse in Chinese large andfrequent flooding music thought of this period a significant feature of the building.But Chinese acceptance of Soviet musical ideas is not gulping style inheritance, andto develop their own level of Chinese music and culture, based on different musicalideas with the Soviet Union has its own focus, and understanding of some conceptswhich the difference with the Soviet Union has also highlighted the development ofmusic thought in this period, Chinese distinctive characteristics.In addition to introduction and conclusion, this thesis is composed of threechapters. The first chapter describes the main Soviet music from the macro idea thatthe Soviet musical discourse of power typical of the four elements: music and thepeople of the class nature of bourgeois forms of music and critique of classical music,folk music styles and traditions inherited emphasis and creative method of socialistrealism; second chapter is about the musical ideas of the Soviet Union, Chinese musicaesthetics of the 1950s, focusing on the Chinese music aesthetics of this period in thesocialist system of the formation and development process of the Soviet music wordsto their transfer; chapter about the Soviet musical ideas critical of China in the 1950sthe impact of music, as if the second chapter discusses the level of music thought, andthis chapter can be seen as the introduction of Chinese music thought to explore,absorb and use the practical level of elaboration. According to these, author intends toexplore where the imprinting effect was in the 1950s of China by the music thought and musical discourse of power Soviet ideology.