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1. What is your age range?
A.?? Under 18
B.??? B.18-30
C.??? C.31-50
D.?? D.50+
2. What is your gender?
A.?? Male
B.??? Female
3. Are you currently studying or working?
A.?? Student
B.??? Office workers
C.??? Retirees
4. In your opinion, where does the most fundamental artistic charm and aesthetic connotation of the guzheng "rhyme" technology (chanting, kneading, pressing, sliding, trembling, etc.) come from?
A.??? It is the direct externalization and instinctive expression of the player's inner emotions.
B.??? It is a highly refined and artistic emotional symbol that needs to be rationally constructed.
C.??? It is an "emotional catharsis" channel that is allowed and respected under specific social and cultural regulations.
D.??? It is an inevitable product of the interaction between the physical properties of sound and the human auditory psychology.
5. In contemporary guzheng works, the "rhyme" technique shows a more intense, complex and even more unconventional trend (such as large glissando, pressing, or chanting combined with noise). What do you think is the core internal driver driving this change?
A.??? The complexity and conflict of modern people's emotional experience require new sound carriers.
B.??? The inevitable result of the artist's pursuit of ultimate individuality and recognition in emotional expression.
C.??? The changes in the emotional structure of the public sphere are microscopic manifestations in music technology.
D.??? Emotional instincts are partially alienated by technical rationality, and there is a risk of innovating for the sake of innovation.
6. How is the habit of "rhyme" (such as specific chanting amplitude, depth and speed of string pressing) formed in guzheng performance? What role do you think traditional paradigms and personal style play in this?
A.?? Personal style dominates, and traditional paradigms are the foundational toolbox.
B.??? The traditional paradigm is the foundation that must be followed, and personal style is a modification on top of it.
C.??? The balance between the two is the process of social identity construction.
D.?? The two have been integrated into the performers and are indistinguishable from each other.
7. In contemporary performance and teaching, how should we understand and deal with the relationship between "respecting the traditional rhyme paradigm" and "encouraging personal style innovation"?
A.?? You must first achieve proficiency within the traditional framework and then seek breakthroughs.
B.??? By stimulating personal expression, it feeds back the in-depth understanding of tradition.
C.??? The two are dynamic, and their standards change with the aesthetics of the times.
D.?? The key is what they think, not what they do
8. What impact do you think the popularity of contemporary media (such as online teaching and live concerts) has had on the balance between "tradition and individuality" in the rhyme habits of guzheng players?
A.?? It breaks down the view of portals, promotes the cross-genre integration of rhyme techniques, and gives rise to more complex personal styles.
B.??? This leads to the flattening and superficiality risk of the rhyme paradigm.
C.??? It reshapes the source of authority and shakes the definition of the traditional teacher-inheritance system.
D. It creates new opportunities for the recontextualization of traditional paradigms.
9. In your opinion, is the core of the establishment of the recognition of different traditional genres of guzheng lies in the differentiated use of "rhyme" technology?
A.?? is the decisive factor. The essence of the difference between genres lies in the difference in "rhyme".
B.??? is a key factor, but it needs to be understood in the context of the overall music system.
C.??? It is the identifier of genre construction, but its formation is profoundly affected by regional cultural ecology.
D.?? In contemporary times, this technological association is blurring and generalizing.
10. In contemporary times, if a new guzheng work wants to become a "new classic", what conditions do it need to meet for the use of its "rhyme" technology?
A.?? There must be a novel and impressive "core rhyme".
B.??? It is necessary to achieve the organic unity of history and contemporary.
C.??? It needs to be recognized by the academic, creative and performance authority system.
D.?? It is necessary to strike the perfect balance between technical controllability and artistic expression.
11. What do you think is the possible path for contemporary rhyme technology innovation to give birth to a new genre of guzheng art in the future?
A.?? Technology systematization orientation style genre.
B.??? The new genre will be fusion and personal.
C.??? Genre as a historical concept may be diluted and replaced by a "style community".
D.?? The birth of a new genre depends on its ability to respond to and shape the cultural spirit of the times.
12. In your opinion, what kind of social and cultural aesthetic changes does the change in the style of guzheng "rhyme" mainly reflect?
A.?? It reflects changes in the way public emotions are expressed.
B.??? It reflects the adjustment of cultural subjectivity and the relationship between the world.
C. It reflects the changes in the cultural power structure.
D. It maps part of the influence of technical rationality on aesthetic sensibility.
13. In contemporary guzheng creation, there are some rhyme techniques that break through traditional ethical boundaries. What do you think about the ethical relationship between this artistic exploration and cultural heritage?
Art is about innovation, and the sincerity of emotional expression is higher than ethical boundaries.
Its ethical bottom line lies in whether it continues the aesthetic core of Chinese music of the "sound cavity" movement.
This is about the question of cultural power of "who has the right to define ethics".
We should uphold the evolutionary ethics of "inheriting the spirit rather than sticking to the form
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