跨界融合·传承创新:民族器乐改编合唱音乐作品探究
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摘要
中国合唱艺术的民族化发展,离不开民族音乐文化的滋养。除去民歌、戏曲艺术,民族器乐元素在合唱中的运用应得到研究与推动。当前,我国作曲家依据民族器乐作品改编的十余首合唱作品,颇为引人注目。它们主要运用拼贴改编、整体改编和融合改编方式;体现了中和美与和谐美的融合、含蓄美与直叙美的碰撞;具有巩固受众民族审美心理、传承传统文化以及拓展合唱作品民族化发展道路等价值。
The nationalization of Chinese chorus art cannot be separated from the nourishment of national music culture. In addition to folk songs,opera art,the use of national instrumental music elements in chorus should be studied and promoted. At present,more than ten chorus works composed by Chinese composers based on national instrumental music works are quite eye-catching. They mainly use collage adaptation,overall adaptation and integration and adaptation; they embody the integration of neutral beauty and harmonious beauty,implicit beauty and direct interpretation. It has the value of consolidating the national aesthetic psychology of the audience,inheriting the traditional culture and expanding the national development path of the chorus works.
The nationalization of Chinese chorus art cannot be separated from the nourishment of national music culture. In addition to folk songs,opera art,the use of national instrumental music elements in chorus should be studied and promoted. At present,more than ten chorus works composed by Chinese composers based on national instrumental music works are quite eye-catching. They mainly use collage adaptation,overall adaptation and integration and adaptation; they embody the integration of neutral beauty and harmonious beauty,implicit beauty and direct interpretation. It has the value of consolidating the national aesthetic psychology of the audience,inheriting the traditional culture and expanding the national development path of the chorus works.
引文
[1]李提吉.开创性的学术研究和专场音乐会—评<龙声华韵>-音乐改编作品音乐会[J].人民音乐,2012(6):35.
[2]吴璇.音乐鉴赏[M].成都:电子科技大学出版社,2014:27.
[3]李艳娜.论中国民族器乐作品合唱化之意义-作品《二泉映月》为例[J].戏剧之家,2015(12):75.
[4]张黎.民族音乐的艺术魅力——合唱之民族化发展[J].大众文艺,2012(13):4.
[5]周霞.中国合唱音乐的民族化进程[J].文教资料,2006(9):158.
[6]陈国权.合唱编配[M].重庆:西南师范大学出版社,2008:124.
[7]雎晓杰.由古曲改编的合唱曲研究-混声合唱<阳关三叠>为例[D].武汉:武汉音乐学院,2014:24.
[8]陈坤林,何强.中西文化比较[M].北京:国防工业出版社,2012(4):177.
[9]梁一儒,宫承波.民族审美心理学[M].北京:中央民族出版社、呼和浩特:内蒙古大学出版社,2003:371.
[10]梁茂春.“口述音乐史”十问[J].天籁(天津音乐学院学报),2016(3):19.
[11]田晓宝.当下中国合唱的多元化发展道路[J].中国音乐,2009(4):174.
[12]汪毓和.中国合唱音乐发展概述(下)[J].音乐学习与研究,1991(2):17.
[2]吴璇.音乐鉴赏[M].成都:电子科技大学出版社,2014:27.
[3]李艳娜.论中国民族器乐作品合唱化之意义-作品《二泉映月》为例[J].戏剧之家,2015(12):75.
[4]张黎.民族音乐的艺术魅力——合唱之民族化发展[J].大众文艺,2012(13):4.
[5]周霞.中国合唱音乐的民族化进程[J].文教资料,2006(9):158.
[6]陈国权.合唱编配[M].重庆:西南师范大学出版社,2008:124.
[7]雎晓杰.由古曲改编的合唱曲研究-混声合唱<阳关三叠>为例[D].武汉:武汉音乐学院,2014:24.
[8]陈坤林,何强.中西文化比较[M].北京:国防工业出版社,2012(4):177.
[9]梁一儒,宫承波.民族审美心理学[M].北京:中央民族出版社、呼和浩特:内蒙古大学出版社,2003:371.
[10]梁茂春.“口述音乐史”十问[J].天籁(天津音乐学院学报),2016(3):19.
[11]田晓宝.当下中国合唱的多元化发展道路[J].中国音乐,2009(4):174.
[12]汪毓和.中国合唱音乐发展概述(下)[J].音乐学习与研究,1991(2):17.