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当我坐在格拉斯歌的亨利·伍德大厅(HENRYWOOD HALL)里,和英国人一起听谭盾的《乐队剧场1:损(ORCHESTRAL THEATRE 1:XUN)》及《乐队剧场2:(REOOHESTRAL THEATRE2:RE)》时,有一种新的体验,这是在北京音乐厅第一次听这两个作品的时候所没有的。 作为听众,场所、角色的转换带来了欣赏角度的变化。在北京,似乎音乐之外的东西多了些,或是将谭盾作为中国先锋派的旗帜,摇旗呐喊;或是以同样的原因加以贬斥,再加上各种媒体的作用,音乐会之前、现场与之后,都过于喧
When I was sitting in the HENRYWOOD HALL at Glasgow, I listened to Tan Dun’s ORCHESTRAL THEATER 1: XUN with the British and REOOHESTRAL THEATER 2: RE ) ", There is a new experience that did not exist when the Beijing Concert Hall first listened to these two works. As a listener, place, the role of conversion has brought changes in appreciation angle. In Beijing, it seems that there is more to music than anything else, or to use Tan Dun as the flag of China’s avant-garde and to cheer; or to derogate for the same reason, plus the role of various media, before and after the concert After that, are too noisy