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并不熟悉台湾青年作曲家吴丽晖其人其乐的北京听众,也许会用音乐技术形态的标尺对她进行度量.然而,吴小姐作品的纯情以及她对中国民族音乐与东西方文化交流的思考,却为我们捅开了一扇因人类文化过于强势而被长期关闭的窄门,且为人们因过于奢望自我文化定位而遗忘生命尊严的墙壁留下了一道裂隙.1993年12月27日,在北京音乐厅,由青年指挥家谭利华执棒,中央乐团为第一个在大陆发表个人作品专场音乐会的吴丽晖小姐拉开了序幕,从而实现了她长期以来在中国大陆举办个人音乐会的夙愿.显然,吴小姐的音乐并非一股暴烈的旋风,也非一场肆虐的震荡.也许,用专业术语来进行描述,其技术语言是“保守”的,其形态结构是“传统”的.但是,正是在这种貌似平淡、宁静的表层底下,却涌动着作者灼烈、起伏的个人情感.于是,在充分的表情之下古老的叙事发生了……
She is not familiar with the audience of Taiwan’s young composer Wu Lihui, who may enjoy the music of her, and may measure her with the ruler of musical technique.However, the pure feelings of Ms. Wu’s works and her reflections on Chinese folk music and East-West cultural exchanges, But it has opened up a narrow door for us to be closed for a long time because of the over-strength of human culture and left a gap for the people to forget about the dignity of human life because they over-estimated their own cultural position. On December 27, 1993, at The Beijing Concert Hall was kicked off by young conductor Tan Li Wa and the Central Orchestra’s first Miss Wu Lihui, who released her solo concert in mainland China, thus realizing her long-held wish of holding a personal concert in mainland China. Obviously, Miss Wu’s music is not a violent whirlwind, nor is it a wreaking havoc.How may it be described in technical jargon, its technical language is “conservative” and its morphological structure is “traditional.” However, It is in this seemingly dull, quiet under the surface, but surging author’s burning, ups and downs of personal feelings, so under the full expression of the ancient narrative took place ...