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在西方音乐写作技术被普遍作为音乐创作标准的大背景下,戏曲音乐的创作方法显得有些山重水复:是遵循着传统戏曲音乐的既定模式、还是借鉴西方音乐写作技术为戏曲音乐注入新鲜血液?抑或是重新梳理戏曲音乐的发展,从戏曲音乐的本体获得创作灵感?作曲家对客观事物的感悟、评价,通过具体的声音、最本真的演奏向观众作音乐呈现,这是当代戏曲音乐创作对于传统戏曲音乐的致敬与理性回归,更是对中国戏曲写意、虚拟的审美情趣的完美注解。这种回归,并非是简单的复制与机械的套用,而是对戏曲艺术精髓与美学原则的深刻理解与重新把握,这也是戏曲音乐创作及研究中一个值得积极探索的课题。
Under the background that western music writing technique is generally regarded as the standard of music creation, the writing method of opera music seems to be quite complex: Is it following the established pattern of traditional opera music or is it borrowing western musical writing techniques to inject fresh blood into opera music? Or to sort out the development of the music of opera, to get the creative inspiration from the ontology of the music of the opera? The composer comprehends and evaluates the objective things, and presents the music to the audience through the concrete sounds and the most authentic performances, which is the contemporary opera music creation The tribute and rational return to the traditional opera music is the perfect annotation of the freehand and virtual aesthetic taste of Chinese opera. This kind of return is not simply a copy and mechanical application. It is a profound understanding and redefinition of the essence of the art of opera and its aesthetic principles. This is also a subject worth actively exploring in the creation and study of opera music.