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20世纪电影音乐中的对位结构观念是在特定历史、文化、时代等背景条件下,逐步发展形成的当代电影音乐创作中非常重要的一类创作思维和手法。这一观念可以追溯到音乐创作中的对位技术及其理论,以及苏联电影大师普多夫金、爱森斯坦和亚历山大洛夫等人于1928年提出的引入对位法去发展和改进蒙太奇技巧的理论及其实践。今天,这一创作思维和手法在电影音乐创作中广泛运用,发挥着不可替代的作用,并扮演着日益重要的角色。文章结合20世纪电影音乐中的经典范例,对当代电影音乐创作中的对位结构观念及其实践进行综合梳理和论述,以期为我国当代电影音乐创作和理论研究提供有益的启示和借鉴。
The conception of the contraposition in the 20th century film music is a very important kind of creative thinking and tactics in the contemporary cinema music creation under the background of certain history, culture and time. This concept can be traced back to the technique and theory of counterpoint in musical composition, and the introduction of the registration method proposed by the Soviet film masters Pudovkin, Eisenstein, and Alexander Love in 1928 to develop and improve montage techniques Theory and practice. Today, this creative thinking and techniques are widely used in film music creation, play an irreplaceable role and play an increasingly important role. Combining the classical paradigm of the 20th century cinema music, the article combs and discusses the conception of the para-structure and its practice in the contemporary cinema music creation with a view to providing useful inspiration and reference for the contemporary Chinese cinema music creation and theoretical research.