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《悲歌》取材于具有浓郁东北地方特色的民间器乐作品双管/二胡独奏曲《江河水》,以西方管弦乐队与二胡的协奏来呈现,作曲家注重乐队与二胡的异质音色,在不影响二胡声部旋律线条美感的同时,充分发挥了乐队在音色和音响上与二胡的对比与衬托。本文重点分析《悲歌》的配器手法、结构思维,兼及题解、体裁、素材等方面,总结为“悲情咏叹”的艺术,并讨论了此种折衷主义的艺术表达方式与1989—1992年间中国文化思潮的潜在关联。
The “sad song” is based on the double pipe / erhu solo song “River Water” of folk instrumental music with rich local characteristics in northeast China. It is presented by the concerto of the Western orchestra and Erhu. The composer pays attention to the heterogeneous tone of the band and erhu. Affect the beauty of melodic lines of the erhu part, give full play to the band in the sound and sound with the erhu comparison and set off. This paper focuses on the analysis of the technique of “sad song”, the thinking of the arrangement, the solution of the theme, the genre and the material, and concludes the art of “tragedy aria” and discusses the artistic expression of this eclecticism from 1989 to 1992 Potential Relevance of Chinese Cultural Thoughts.