摘要
美籍华裔钢琴家、作曲家孙以强先生融中国民族音乐特色和浪漫主义风格于一身,他创作的出发点和目标,是要写出具有中国特色的音乐作品。钢琴曲《谷粒飞舞》是孙以强创作于20世纪60年代初期的作品,该曲主题鲜明,音乐语言简洁淳朴、生动自然,把欧洲传统的作曲技法和中国名族音乐语汇巧妙的结合,充分显示了他独特的音乐风格,深受广大钢琴演奏者的喜爱。
本文从创作背景、创作手法、调性分析、曲式结构、演奏提示、教学指导等方面对这首钢琴作品进行浅析,以便在演奏和教学中准确的把握和理解作品,领略民族音乐的魅力。
这首钢琴作品的音乐题材来自于乡间农民劳动生活,情景式的描写手法,运用灵巧、简朴的音乐语言,充满生机、活泼的节奏和悠扬、抒情的旋律,生动地刻画出人们欢庆丰收的喜悦心情。既把现代技法与传统音乐融为一体,又把中西音乐加以结合,既有浓郁的民族内涵,又有新颖的效果。是一首成功的中国钢琴作品。
在这首作品中,欧洲音乐技术理论的手法和技巧与中国音乐语言的巧妙结合结合,给予了作者创作技法上很大的突破,充分体现了民族的调式调性,和声色彩丰富,音乐形象鲜明。孙以强对现代作曲技法的探索与创新,为中国钢琴音乐的创作提供了比较成功的范例,至今在中国乐坛还有一定的影响力。它不仅是当时中国学生经常弹奏的中国曲目之一,也丰富了当时可用于演奏和教学的中国钢琴作品,在促进钢琴音乐创作民族化,以及在钢琴音乐教育中促进中国民族音乐发展方面做出了贡献。
目前国内外对孙以强钢琴作品《谷粒飞舞》的研究还不甚全面,大多集中在作曲技法和曲式分析上,而在艺术特色、教学、演奏方面的研究却相对较少。因此,本文将着重从多个角度对这部作品进行分析和研究。《谷粒飞舞》在钢琴演奏技术方面的训练内容很多,例如:声部的控制、快速的外侧击练习、小指的控制练习、琶音、快速的连奏练习、带有保持音的练习、双手同时进行的八度练习、和弦及双音的跳音练习等等。这些练习都有助于提高学生的多声思维、手指的扩张、控制和跑动能力。当然,《谷粒飞舞》所涉及的某些技术训练课题相对偏深,属于中高级程度,但笔者认为这部作品既可以作为钢琴业余考级七级以上程度的学生的专项练习教材,又可将其当作音乐会演奏曲目,也可练习整曲或片段以替代相同程度的练习曲来使用。因此,它值得我们在教学中深入研究,并应用到演奏实践中去。
Mr. Sun Yiqiang, a Chinese-American pianist and composer, combines the characteristics of the Chinese folk music with the style of romanticism together to create the musical works with Chinese characteristics. The piano work Dancing Grains was composed by Sun Yiqiang in the early 1960s. In the work, a distinctive theme is expressed very well by the concise, vivid and inartificial musical language. Skillfully combining the European traditional composing techniques with the Chinese folk musical language, the work fully displays his special music style, and is very popular among most of the pianists.
This thesis tries to make a brief analysis on this piano work from the aspects of creation background, composing techniques, tonality analysis, musical structure, performance hints, and teaching instruction, etc. It aims to accurately understand and grasp the work in performance and teaching, and to appreciate the charm of the folk music.
The music theme of this piano work is based on the peasants’laboring life in the countryside. The peasants’happiness from the celebration of the bumper harvest is vividly depicted by situational description, smart and concise musical language, vigorous and brisk rhythm, and lyrical melody. The traditional music is well integrated with the modern techniques, and the Chinese music is ingeniously combined with the western music. With the distinctive national connotation and the original effect, this work is considered as successful Chinese piano music.
In this work, the composer made a great breakthrough in the creating technique by skillfully integrating the techniques of the European musical theory into the Chinese musical language. The work completely reflects the national mode and tonality, in which there are various designs for harmony and distinctive musical image. The exploration and innovation made by Mr. Sun Yiqiang in modern composing techniques provides a comparatively successful example for the composition of Chinese piano music, which still influences Chinese musical circles to some degree. At that time, the work was not only one of the Chinese tunes frequently played by Chinese students, but also enriched the Chinese piano works for performance and teaching. Therefore, the work has made great contribution to the nationalization of the piano music composition, and has helped to promote the development of the Chinese folk music in the piano music education.
So far, the researches on Mr. Sun Yiqiang’s piano work Dancing Grains both at home and broad are not very complete. Most of them focus on the analysis of composing techniques and the musical form, but the researches on the artistic characteristics, teaching and performance are comparatively rare. Thus, this thesis emphasizes on the analysis and research of this work from multiple perspectives. There are many training items about the piano performing skills, such as the control of the voice part, the exercise on the rapid outward side-swipe, the controlling exercise on the little fingers, arpeggio, the rapid legato exercise, the exercise on the maintain sound, the octave exercise with two hands playing together, and the leap exercise on chords and duel tone, etc. All these exercises are very favorable for promoting the students’ability in the thinking of multiple parts and in the stretch, control and movement of the fingers. Certainly, some technique-training items involved in Dancing Grains are comparatively difficult and belong to the intermediate and advanced level. However, the author thinks that this work can be used both as the special teaching materials for the amateur piano players whose level is higher than seven grade, and as performing tune for the concert. Meanwhile, the work can be divided into several musical fragments and used as the practicing tunes to replace other tunes with equivalent degree of difficulty. Therefore, it is necessary to deepen our research on this work not only in the field of teaching, but also in the performing practice.
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