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去年八、九月间在北京参加《中国音乐观摩与研讨会》,与来自全国各地的作曲家、演奏家、教育家同行们作了热烈的交流。在此期间《人民音乐》编辑部要我写一篇有关中国民族管弦乐音乐的理论文章。本文就声学及艺术的角度,提出有关中国民族管弦乐队基本频谱的讨论,其中多数结论都与传统合奏乐声部使用法一致。此外对音程作为中国音乐的语言骨干及自然音程作为音乐创作音响空间的指标的强调也提出了讨论。本文的灵感来自由古至今的乐曲,感谢我们的音乐家们。
In August and September last year, he participated in the “Chinese Music Observations and Seminars” in Beijing and made enthusiastic exchanges with composers, performers and educators from all over the country. During this period, the editorial department of People’s Music asked me to write a theoretical essay on Chinese folk orchestral music. This paper presents a discussion of the basic spectrum of the Chinese national orchestra from the point of view of acoustics and artistry, most of which are consistent with the usage of the traditional ensemble music department. In addition, the discussion on the emphasis of the sound track as the language backbone of Chinese music and the natural sound track as an index of the sound field of music creation is also put forward. This article is inspired by music from ancient to present, thanks to our musicians.