戈多夫斯基《爪哇组曲》的研究
摘要
利奥波德·戈多夫斯基(1870-1938)是伟大的美籍波兰钢琴演奏家，他所创作于1924—1925年间的《爪哇组曲》，无论从音乐内容、钢琴演奏技法和文化角度几个方面来看，都是同时代的音乐家很少深入涉及的领域。在浩如烟海的钢琴音乐理论研究的文献里，几乎很难查到有关它的诠释资料。扼腕之余，这也成为笔者将它作为研究对象的理由之一。作为钢琴炫技演奏的一代宗师，戈多夫斯基所创作的《爪哇组曲》在演奏技巧层面叠现了技术难度艰深的特点；同时，由于演奏技巧所要表现的音乐内容与过去各类音乐流派存在着颇大的差异，以及作品中某些加美兰乐器演奏的特征植入钢琴演奏中的特殊需要，使得《爪哇组曲》的演奏诠释方面增加了一些独特性和变量，本文将在演奏技巧方面提出一些与此相关的看法与观点。戈多夫斯基《爪哇组曲》的创作方式到底是将包括加美兰在内的爪哇音乐进行西化处理，还是戈多夫斯基借鉴爪哇音乐因素所构成的个性创作，甚或干脆就是纯粹的西方音乐，笔者将进行审慎的分析后再作出相应的价值判断。随着经济全球化的影响，在发展多元文化理念的背景下，这部作品越来越显示出非常的文化意义，对强势文化以有力的自身价值证明，同时也对西方乃至其他国家民族的音乐创作给予了极大的启发和一种开拓性的思路。
Leopold Godowsky (1870-1938) was a great Polish American pianist. "Java Suite" which he composed during 1924-1925 was a field that few musicians in his time worked on deeply in terms of the content of music, piano skills and culture. In those research literatures on musical theories of piano, it's hard to find any reference to explain. It is one of the factors for the author to research it. As am aster of piano playing, Godowsky's Java Suite shows character of deep difficulty of skills. Meanwhile, since there is huge differences between the music that the performance skills are supposed to express and that all the other traditionalmusical school were supposed to deliver, and what is more, because of the need that some of the features that the Gamelan instruments are added into piano performance, there are some peculiarities and variables in the performance and illustration of "Java Suite" . The paper will post some viewpoints on performance skills. The question whether the composition mode of Leopold Godowsky in Java Suite westernizes the Java music including Gamelan, or Leopold Godowsky composes with his individuality using Java music, or what he composes is totally western music is left unsolved. I will present an evaluation after I make a deep research. Affected by the globalization of economy, and in the background of developing the idea of diversification, this work continuously exhibits its meaning in terms of culture and has an impact on main culture by its own value, and at the same time, it provides the musical composition in western countries and other nations with huge amount of enlighten and a creative way of thinking.
Leopold Godowsky (1870-1938) was a great Polish American pianist. "Java Suite" which he composed during 1924-1925 was a field that few musicians in his time worked on deeply in terms of the content of music, piano skills and culture. In those research literatures on musical theories of piano, it's hard to find any reference to explain. It is one of the factors for the author to research it. As am aster of piano playing, Godowsky's Java Suite shows character of deep difficulty of skills. Meanwhile, since there is huge differences between the music that the performance skills are supposed to express and that all the other traditionalmusical school were supposed to deliver, and what is more, because of the need that some of the features that the Gamelan instruments are added into piano performance, there are some peculiarities and variables in the performance and illustration of "Java Suite" . The paper will post some viewpoints on performance skills. The question whether the composition mode of Leopold Godowsky in Java Suite westernizes the Java music including Gamelan, or Leopold Godowsky composes with his individuality using Java music, or what he composes is totally western music is left unsolved. I will present an evaluation after I make a deep research. Affected by the globalization of economy, and in the background of developing the idea of diversification, this work continuously exhibits its meaning in terms of culture and has an impact on main culture by its own value, and at the same time, it provides the musical composition in western countries and other nations with huge amount of enlighten and a creative way of thinking.
引文
[1] 洪士鲑，《外国著名钢琴家词典》，人民音乐出版社，1988年，P．38
[2] Stanley Sadie, The New Grove Dictionary of Music and Musicians, Oxford University Press, 2000
[3] 涅高兹，《涅高兹谈艺录》，人民音乐出版社，2003年，P．228
[4] 涅高兹，《论钢琴表演艺术》，人民音乐出版社，1963年，P．122
[5] 饶文心，《爪畦甘美兰乐器惯用分类的功能阐释》，《音乐艺术-上海音乐学院学报》，1999年04期，P．16
[6] 饶文心，《甘美兰的构成要素与表演原则》，《音乐研究》，2002年02期
[7] J·玛塞塔，《爪哇、日本和中国宫廷音乐的结构》，《音乐艺术-上海音乐学院学报》，1999年02期
[8] 杰拉尔德·亚伯拉罕，《简明牛津音乐史》，上海音乐出版社，1999年，P．643
[9] 赵晓生，《钢琴演奏之道》，世界图书出版公司，1999年，P．161
[10] 弗兰克·道斯，《德彪西的钢琴音乐》，人民音乐出版社，1985年，P．51
[11] 邵义强，《钢琴名曲的演奏诠释Ⅱ》，全音乐谱出版社，1984年，P．229
[12] 李泽厚，《中国古代思想史》，天津社科院出版社，2003年
[13] 胡奇章，《对后现代主义音乐在中国的现状与发展之思考》，《苏州科技学院学报(社会科学版)》，2005年04期
[2] Stanley Sadie, The New Grove Dictionary of Music and Musicians, Oxford University Press, 2000
[3] 涅高兹，《涅高兹谈艺录》，人民音乐出版社，2003年，P．228
[4] 涅高兹，《论钢琴表演艺术》，人民音乐出版社，1963年，P．122
[5] 饶文心，《爪畦甘美兰乐器惯用分类的功能阐释》，《音乐艺术-上海音乐学院学报》，1999年04期，P．16
[6] 饶文心，《甘美兰的构成要素与表演原则》，《音乐研究》，2002年02期
[7] J·玛塞塔，《爪哇、日本和中国宫廷音乐的结构》，《音乐艺术-上海音乐学院学报》，1999年02期
[8] 杰拉尔德·亚伯拉罕，《简明牛津音乐史》，上海音乐出版社，1999年，P．643
[9] 赵晓生，《钢琴演奏之道》，世界图书出版公司，1999年，P．161
[10] 弗兰克·道斯，《德彪西的钢琴音乐》，人民音乐出版社，1985年，P．51
[11] 邵义强，《钢琴名曲的演奏诠释Ⅱ》，全音乐谱出版社，1984年，P．229
[12] 李泽厚，《中国古代思想史》，天津社科院出版社，2003年
[13] 胡奇章，《对后现代主义音乐在中国的现状与发展之思考》，《苏州科技学院学报(社会科学版)》，2005年04期