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20世纪,琴乐文化经历了其漫长生命中最为剧烈的一次转型。在多重非本位因素倾压下,当代琴人的琴乐语言表达同传统琴人之间已然产生变异。本文基于琴乐音响实体,在近现代广陵琴派的风格标志及师承关系下,由琴乐语言表达中的音时展衍、声韵关系以及音乐表现力三个方面,对张子谦、刘少椿、龚一、成公亮等前后两代琴人的琴乐语言表达进行横、纵两向的比较研究,试图反思20世纪古今、中西、雅俗等多方元素碰撞和交融下,包括古琴在内的传统音乐文化在直面现代时所共同发生的“汇流”。
In the 20th century, the piano music culture experienced the most dramatic transformation in its long life. Under the circumstance of multiple non-unit factors, the variations of the piano music expression between the contemporary Chinese and traditional artists have already occurred. This article is based on the piano music stereo entity, under the style sign and teacher-student relationship of Guangling Qin School in modern times, from three aspects of tone-time extension, sound-rhyme relationship and music expressiveness in the expression of Qin music, , Cheng Gong-liang and other generations of Qin people piano music language expression horizontal and vertical comparison, trying to reflect the 20th century, ancient and modern, Chinese and Western, elegant and other elements of the collision and blending, including the traditional musical culture, including the guqin Facing the common occurrence of modern “confluence.”