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读中央音乐学院梁茂春教授的著作《中国当代音乐》,不禁勾起去年10月23日听郭祖荣先生艺术歌曲作品音乐会的回忆。同时忆起的还有去年11月3日和4日香港大学刘靖之博士来榕做题为“研究中国新音乐史的体会和方法”的讲座,以及作曲家王西麟在更远的的92年10月23日(巧合!正是郭先生在一年后举行音乐会的日期)京、沪、闽音乐创作研讨“太姥山会议”关于音乐创作“集体抒情性与个体抒情性”问题的发言。 回忆与联想总是那样跳跃而又四处弥漫不着边际,却又象风筝,由一根看不见的线牵引着。 “20年代、40年代,中国作曲家都爱用艺术歌曲
Reading the book “Contemporary Chinese Music” by Professor Liang Maochun of the Central Conservatory of Music can not help but remind me of the memory of the concert of Mr. Guo Zuorong’s art song concerts held on 23 October last year. Also recalled is a lecture by Dr. Liu Jing of the University of Hong Kong on November 3 and 4 last year, entitled “A Study on the Experiences and Methods of the History of New Chinese Music”, and a lecture by composer Wang Xilin at a further 92 On the 23rd (coincidence! It is the date that Mr. Guo held a concert after one year). Speeches on the topic of “collective lyricism and individual lyricism” in the music production of “Taimu Mountain Conference” were discussed in Beijing, Shanghai and Min musical creation seminars. Memories and associations are always so leaping and pervading, but like a kite, pulled by an invisible line. In the 1920s and 1940s, Chinese composers loved art songs