地域意义消失过程中的音乐传播-音乐学专业论文.docxVIP

目 目 录 目 录 中 文 摘 要 ······································································································· Ⅲ 英 文 摘 要 ······································································································· Ⅳ 绪论：当代传播与理论研究的拓展 ············································································ 1 一、“地域意义消失”时代的到来 1 二、“媒介场景”的理论起点与基石 2 三、“媒介场景”理论在我国的现实现象态 4 四、与本课题相关的概念 6 五、本课题的理论意义与研究方法 7 第一章 音乐传播媒介与“场景” ············································································ 9 第一节 音乐媒介特征9 一、口语传播媒介 9 二、乐谱传播媒介 10 三、电子媒介特征 11 第二节 “墙”和“阶”的消失11 一、“墙”的产生 12 二、“阶”的产生 13 三、“墙”与“阶”的消失 13 第三节 音乐媒介的“场景”营造15 一、场景——音乐媒介分析的新观点 15 二、口语媒介和乐谱媒介创造的场景 15 三、电子媒介场景的新变化 16 第二章 当代音乐传播中的现象 ············································································ 18 第一节 自由的音乐舞台18 一、自由的网络音乐创作与表演 18 二、自由的音乐选择与接受 19 三、网络“恶俗”现象 ················································································································20 第二节 音乐姿态的变化21 一、“居高临下”姿态的下降： 21 二、大众对音乐明星的质疑 21 第三节 网络爆红的“忐忑”现象22 一、《忐忑》的由来 22 二、选择《忐忑》的原因 23 三、由《忐忑》发现的问题及反思 24 第三章 场景重构下的音乐行为探析 ········································································· 26 第一节 音乐“社会场景”重构的表现26 一、公共场景的重构与融合 26 二、音乐群体身份的重构和融合 27 I II II 三、当代音乐传播的“中区融合” 28 第二节 音乐场景重构下的行为表征 29 一、“看”的重新回归 29 二、权威的瓦解 31 三、音乐行为神秘感的消失 32 第三节 音乐场景重构中的音乐道路 34 一、传统音乐受到的冲击 34 二、网络音乐的好与坏 35 三、吸引眼球的音乐表演 36 结语·················································································································· 38 参考文献············································································································ 42 作者简介············································································································ 44 后记·················································································································· 45 中文摘要 中文摘要 PAGE PAGE IV 中 文 摘 要 以社会信息为基础的人类社会传播，如今已乘着科技成果的翅膀，进入了电子网络媒介 传播的新纪元。新型的传播媒介和手段在传输信息数量、传输速度、操作方式等方面给人们 带来前所未有的突破，不仅如此，它们还将原本身处不同地域、