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器乐舞台音画是“天姿国乐”在中国民乐复兴时代的探索与尝试,是在继承传统演绎的基础上,民族器乐音乐会呈现形式的突破及演奏技巧的拓展,这种非音乐厅演出的音乐会,是以演奏为主体,舞台为载体,结合现代舞美,融入多元文化,在特定设计的舞台时空中,呈现一幅幅风格各异的,流动的音乐画卷。它是音乐语言与舞台美术的奇妙结合,也是中国音乐与中国绘画的相互渗透。这种顺应时代发展的演绎形式,可称是气韵相通,视听相衬,静逸相合的器乐舞台音画。
The instrumental stage music and painting is the exploration and attempt of Tian Tian Gu Le in the rejuvenation era of Chinese folk music. Based on the traditional deduction, the folk instrumental music concert presents the breakthrough of the form and the expansion of playing skills. This kind of non-music The performance of the concert hall, is based on the performance as the mainstay, the stage as a carrier, combined with modern dance, into the multi-cultural, in the specific design of the stage space and time, showing a different style, flowing music picture. It is a marvelous combination of musical language and stage art, as well as the mutual infiltration of Chinese music and Chinese painting. This form of adaptation to the development of the times, can be described as the same atmosphere, phase contrast, static and dynamic instrumental stage music and music.