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20世纪80年代,在国家大力支持下开展了对于少数民族乐器的发掘、保护与研制工作。内蒙古、吉林延边、新疆等少数民族地区的专业演出团体及院校均开展了少数民族器乐教学工作。针对于少数民族乐器的音乐作品创作自此开始。按照不同时期与不同乐器的发展状况,依据乐器发展程度来看,中国传统少数民族器乐音乐作品创作大体可分为五个阶段:恢复期、萌芽期、初创期与发展期。立足于少数民族民间音乐文化,以此为创作源泉。不断探索创作更加成熟并具有一定技术性与艺术性的演奏作品。最终形成符合乐器演奏性能的少数民族器乐演奏风格。这是少数民族音乐创作的典型特点。本文以蒙古族传统弹拨乐器火不思音乐创作发展为例进行研讨述评。
In the 1980s, with the vigorous support of the state, the excavation, protection and research and development of ethnic musical instruments were carried out. Inner Mongolia, Jilin Yanbian, Xinjiang and other ethnic minority areas of professional performing groups and institutions have launched a minority instrument instrumental teaching. Since then, the creation of musical compositions directed at ethnic musical instruments has since begun. According to the development of different musical instruments in different periods and according to the development of musical instruments, the composition of Chinese traditional minority instrumental music can be roughly divided into five stages: the recovery period, the embryo period, the start-up period and the development period. Based on ethnic folk music culture, as a source of creativity. Continue to explore more mature creation and a certain technical and artistic performance works. The final form of musical performance in line with the performance of ethnic minority instrumental style. This is a typical characteristic of minority music creation. In this paper, Mongolian traditional plucked instrument fireworks creation and development as an example to discuss the review.