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改革开放以来,我国民族器乐创作进入了一个全新的多元化繁荣发展时期,产生了一批既具传统音乐文化内涵又富有现代音乐语境的优秀作品,以二胡、古筝、琵琶等为代表的乐器在创作及演奏技术等方面都取得了令人瞩目的巨大成就。在板胡创作方面,板胡协奏曲《撼庭秋》以鲜明的地域音乐文化特征、动机式主题贯穿的结构方式、主题陈述时以陕西特有的“苦音”与“欢音”调式色彩音结构而成的人工九声音阶所造成的调式游移性、展开时的远关系调性转换和布局等创作手法;以深厚的民族神韵、独特的叙述语言、复杂的调式和声、节拍节奏设计以及演奏技术的发掘和拓展;以传统演奏方法与现代演奏技术的糅合、民族音乐素材与现代创作手法的结合、古典诗词意境与当代音乐语境的契合、艺术手段创新与当代审美趋向的融合,对板胡的发展做出了可贵的探索和创新,成为二十一世纪中国民族器乐作品中的经典之一。
Since the reform and opening up, China’s national instrumental music has entered a new era of diversified development and prosperity, resulting in a number of excellent works featuring both traditional musical culture and modern musical contexts. Instruments such as erhu, zither, and pipa In the creation and playing techniques have made remarkable achievements. In Banhu’s creation, the Banhu Concerto “Han Ting Ting Qiu” is based on the distinctive regional music and culture motifs and motive motifs throughout the structure. When the theme statement is made, Shaanxi unique “bitterness” and “cheer tone” Tone structure caused by the artificial nine-scale shift caused by the style, far when the relationship between the tonal transformation and layout and other creative techniques; with deep national charm, a unique narrative language, complex style harmony, beat rhythm design As well as the exploration and expansion of playing techniques. The combination of traditional playing methods and modern playing techniques, the combination of national music materials and modern creative techniques, the conformity between the artistic conceptions of classical poems and the contemporary music contexts, the fusion of artistic means innovations and contemporary aesthetic trends, He has made valuable explorations and innovations in the development of Banhu, becoming one of the classic works of Chinese national instrumental music in the 21st century.