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《(天问)之问》由上海音乐学院朱世瑞教授创作,是一部为竹笛与交响乐队而作的交响乐作品。12首小曲一气呵成,是用音乐幻想对屈原《天问》的12次设问。乐队音响单纯而不单调,简洁而不简陋,通畅而不通俗。本文主要是针对《(天问)之问》的作曲技术理论、音乐形态进行分与研究,清晰地了解这部作品自身特殊的作曲技法、独特的音乐语汇。这部作品音乐语言风格迥异、构思技法新颖,折射出了作曲家对历史、对民族、对当代、对人生的思考和见解,体现出作曲家在寻求民族风格与国际化交融、传统素材与现代技术贯通、个性表达与共性感受契合、文化传承与时代精神衔接的道路所进行的尝试和探索。作品鲜明的多元性(跨文化、多语言),不仅体现在选材上,在其配器中也得以体现。竹笛是中国吹管乐器之一,而乐队主要是西洋管弦乐器为主。乐队的音响,空间流白与气息律动的舒展交融,临越这背景之上的竹笛时而飘逸灵动,时而凄厉苍茫,一次次与两千三百多年前的文本展开对问,反映出“道器合一,神形兼备”的艺术创作境界。
“The Question of Heaven” was created by Professor Zhu Shui-tei from Shanghai Conservatory of Music and is a symphony composed of bamboo flute and symphony orchestra. Twelve little songs in one go, is the use of music fantasy Qu Yuan “Heaven” 12 questions. Bands sound simple but not monotonous, simple but not simple, smooth and not popular. This dissertation mainly analyzes and analyzes the composition technique theory and music form of “Q (Quest)” and clearly understands the unique composition technique and unique music vocabulary of this work. The compositions of this genre are different in musical style and novel in concept and technique, reflecting the composers’ thoughts and opinions on history, nation, contemporary and life, reflecting that the composer is seeking the blend of national style and internationalization, traditional material and modern Technology through, personality expression and common feeling fit, cultural heritage and the spirit of the times the path of the attempt and exploration. The distinct diversity of work (cross-cultural, multi-lingual) is reflected not only in the material selection but also in the fittings. Bamboo flute is one of China’s wind instruments, and the band is dominated by Western orchestral instruments. The sound of the band, the flow of white space and rhythmic stretch blend blend, Linyin this background fluffy and elegant, sometimes miserable, time and again with more than 2,300 years ago the text to start the question, reflecting the “Taoist unity, both God-shaped” art creation realm.