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20世纪80年代,中国近现代钢琴作品无论是在创作实践上还是理论研究上,都达到了前所未有的高度,是中西方音乐文化交融的体现。这一时期的作品在创作技法上既传承了西方古典的创作技法,又融入了中国特色的民族民间音乐元素,在音响上多立足于追求民族化的音响效果。作曲家崔炳元就是这一时期的代表人物,他创作的音乐作品,具有很强的现代意识和鲜明的民族气质,艺术风格独特,有较高的欣赏价值。本文以崔炳元的钢琴组曲《西藏素描》为研究对象,通过对曲式分析、民族调式以及和弦材料运用的简述,旨在对今后的学习创作有所助益。
In the 1980s, both Chinese and modern piano works reached an unprecedented height both in the practice of writing and in theoretical research, which is the embodiment of the blend of Chinese and Western music and culture. The works of this period inherit both the creative techniques of Western classical techniques and the national folk music elements with Chinese characteristics. They are based on the acoustics of the pursuit of nationalization. Composer Cui Bingyuan is the representative of this period, his works of music, with a strong sense of the modern and distinctive national temperament, unique artistic style, a higher appreciation of the value. This article takes Cui Bingyuan’s piano composition “Tibetan Sketch” as the research object. Through the brief analysis of the form analysis, ethnic style and the use of chord material, this paper aims to be helpful for future study creation.