我国音乐类综艺节目呈现削弱竞技感、注重情感表达的发展态势，在这一发展趋势的推动下，节目对怀旧议题的选择是顺应市场潮流的结果。本文从媒介记忆建构的角度出发，融合集体记忆、文化记忆等理论范式，对《声生不息》及其受众评论文本进行分析，以期探究音乐类综艺节目在怀旧叙事上的手段及受众在观看节目后在数字媒介中进行的记忆展演，为节目创作与受众研究提供参考。

本文第一章深入阐释了媒介记忆建构下数字怀旧的内涵，并梳理了我国综艺节目的怀旧创作倾向，提炼出音乐类综艺节目在怀旧创作发展中所呈现的叙事性、情感性及慢节奏的普遍特征。

第二章探究了以《声生不息》为代表的音乐类综艺节目文本的怀旧叙事方式。音乐类综艺节目将个体记忆和集体记忆作为怀旧叙事的议题，通过身体再现操演的能力演绎怀旧曲目，构建起综艺节目的怀旧叙事。其次，节目通过媒介怀旧的手段塑造跨时空的情感共鸣：媒体影像等现代媒介内容复现历史，mp3、CD等物质性媒介怀旧物作为怀旧对象本身也在怀旧表达中起到重要作用。同时，节目通过仿照过去媒介的视觉特点进行模拟怀旧，为观众带来的丰富怀旧体验。最后，在“记忆之场”理论的指导下，文章从时间和空间两个维度对节目怀旧空间的搭建进行分析。研究表明，节目中时间的呈现兼具真实性、多线性及微缩性的特征；在空间维度，除舞台演绎空间外，城市空间及地方性空间符号的融入体现了节目对空间怀旧叙事的巧妙应用。

第三章从受众媒介记忆建构的角度出发，通过对豆瓣平台中《声生不息》受众评论的文本分析，窥探受众在数字怀旧互动行为中所关注的怀旧话题以及体现的情感特征。文章利用网络爬虫软件爬取了《声生不息》两季节目共5640条评论文本，经数据筛选和处理后得到约12万字的文本总量，在对评论文本的分析中发现，受众的怀旧互动话题围绕着怀旧音乐、地方记忆和节目表现而展开；观众对节目中的音乐经典和地方记忆有深刻情感，普遍感到满足，积极情绪短评占比远高于消极情绪短评。在对文本分析的基础上，本文对受众评论进行了话语分析，从记忆、情感与价值维度出发，进一步探讨音乐类综艺节目对观众媒介记忆建构的作用。由怀旧音乐为原点而延伸的个体记忆和集体记忆回溯是受众媒介记忆构建的主题，由此促成的受众怀旧情感共鸣呈现多元特征。最后，在价值实现上，文本中流露的“恋地情结”是地方归属感与身份认同的具体体现，由于选取案例节目主题的献礼属性，网民的自我呈现还流露着对家国情怀和民族身份认同感的表达。

第四章探究了我国音乐类综艺节目在媒介记忆建构中存在的发展问题，主要体现在消费主义指引下过度娱乐化的集体记忆以及“第三记忆”泛滥下的受众记忆迷失，并提出多维记忆传达、真实情感渗透、反思型怀旧呈现的记忆建构策略。音乐类综艺节目是大众喜闻乐见的文艺作品类型，同时当代社会中普遍存在的怀旧心理使大众充满对怀旧故事的渴求，因此，对节目媒介记忆建构及受众情感体验的研究对我国综艺节目的发展具有重要的参考和创作指引意义。

Chinese music variety shows are showing a trend of weakening competitiveness and emphasizing emotional expression. Driven by this development trend, the selection of nostalgia topics in the programs is the result of conforming to market trends. This article starts from the perspective of media memory construction, integrates theoretical paradigms such as collective memory and cultural memory, and analyzes "The Sound Never Dies" and its audience review texts, in order to explore the means of nostalgic narrative in music variety shows and the memory performance of audiences in digital media after watching the programs, providing reference for program creation and audience research.

The first chapter of this article provides an in-depth explanation of the connotation of digital nostalgia under the construction of media memory, and sorts out the tendency of nostalgia creation in Chinese variety shows. It extracts the common characteristics of narrative, emotional, and slow paced music variety shows in the development of nostalgia creation.

Chapter 2 explores the nostalgic narrative style of music variety show texts represented by "The Sound Never Dies". Music variety shows focus on individual and collective memory as topics for nostalgic narratives, interpreting nostalgic songs through the ability of physical representation and performance, and constructing a nostalgic narrative for variety shows. Secondly, the program uses media nostalgia to shape emotional resonance across time and space: modern media content such as media images reproduce history, and material media nostalgia objects such as MP3 and CD also play an important role in nostalgia expression. At the same time, the program simulates nostalgia by imitating the visual characteristics of past media, bringing rich nostalgia experiences to the audience. Finally, guided by the theory of "memory field", the article analyzes the construction of nostalgic space in the program from two dimensions: time and space. Research has shown that the presentation of time in programs exhibits characteristics of authenticity, multilinearity, and miniaturization; In terms of spatial dimension, in addition to stage performance space, the integration of urban space and local spatial symbols reflects the clever application of spatial nostalgia narrative in the program.

Chapter 3 starts from the perspective of audience media memory construction, and through text analysis of audience comments on "The Sound Never Dies" on the Douban platform, explores the nostalgic topics and emotional characteristics that audiences pay attention to in digital nostalgia interactive behavior. The article used web crawler software to crawl a total of 5640 comment texts from the two seasons of "The Sound Never Dies". After data filtering and processing, a total of approximately 120000 words of text were obtained. In the analysis of the comment texts, it was found that the audience's nostalgic interactive topics revolved around nostalgic music, local memories, and program performance; The audience has a deep emotional attachment to the music classics and local memories in the program, and generally feels satisfied. The proportion of positive emotional short comments is much higher than that of negative emotional short comments. On the basis of text analysis, this article conducts discourse analysis on audience comments, and further explores the role of music variety shows in constructing audience media memory from the dimensions of memory, emotion, and value. The theme of constructing audience media memory is the extension of individual memory and collective memory backtracking from nostalgic music as the starting point, which leads to diverse characteristics of audience nostalgic emotional resonance. Finally, in terms of value realization, the "love land complex" revealed in the text is a concrete manifestation of local belonging and identity recognition. Due to the gift giving nature of the selected case program theme, the self presentation of netizens also reveals expressions of patriotism and national identity recognition.

Chapter 4 explores the development problems of media memory construction in music variety shows in China, mainly reflected in the excessive entertainment of collective memory under the guidance of consumerism and the loss of audience memory under the flooding of "third memory". It also proposes memory construction strategies such as multi-dimensional memory communication, infiltration of true emotions, and reflective nostalgia presentation.Music variety shows are a popular type of literary and artistic works among the public. At the same time, the prevalent nostalgia psychology in contemporary society makes the public crave for nostalgic stories. Therefore, the study of program media memory construction and audience emotional experience has important reference and creative guidance significance for the development of variety shows in China.