一说起现代派音乐,很多人会一下子就联想到抽象晦涩难懂的新维也纳乐派的无调性音乐。 这种印象早就该改变了。 但是,现代派无论怎样变化,把它与浪漫派这一“冤家”摆在一起似乎也太荒谬的感觉。 从印象上,谭盾的音乐与十九世纪音乐毫无共同之处,但这个世界的滑稽之处就在于,一些本来似乎是完全相异的事物,当你转动着手中的透镜,调整到一个特殊的角度时,你会惊讶地发觉它们却具有着某些荒谬的相似。 转动着透镜看世界,这好象是在玩一场游戏。但是,正象谭盾在《鬼戏》中虽表面是在玩一场荒谬的游戏。其实隐藏着严肃的思想。本文在好似荒谬的对比背后,也是在认真地思考和观察现代派音乐表现出的 When it comes to modernist music, many people suddenly think of the abstract obscurity of the New Vienna School’s atonal music. This impression has long been changed. However, no matter how the modernist changes, it seems absurd to put it together with the “enemy” of the romantic school. Impressionally, Tan Dun’s music has nothing in common with 19th-century music, but the comic thing in this world is that something that seems to be totally different can turn out to be a special lens as you turn your hand You will be surprised to find that they have some absurd similarity. Turning the lens to see the world is like playing a game. However, as Tan Dun in the “ghost scene” although the surface is playing a ridiculous game. In fact hidden serious thought. This article behind the seemingly absurd contrast is also carefully thinking and observing the modernist music