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5月31日晚,北京中央音乐学院音乐厅,当舞台上“飞歌唤凤”的旋律挥之不去,久久萦绕着每个观众的心中,自5月25日开始持续了7天的2004年北京现代音乐节终于落下帷幕。 中国现代音乐自从出现就伴随着褒贬不一的争论,二十年发展风风雨雨。如今当年勇敢的弄潮儿已经成为中国音乐发展的中坚,现代音乐也随着国内艺术环境的宽松而走向成熟。如果说二十年前的“新潮”作曲家渴望理解与认同,今天的现代音乐新老作曲家则更多地希望在彼此交流的基础上推动作品的繁荣。由中央音乐学院、中国音协理论委员会及创作委员会主办,中央音乐学院王次炤院长担任出品人、作曲家叶小纲任音乐总监的2004年北京现代音乐节,是继2002年上海首届“中国现代音乐论坛”之后,又一次中国现代音乐交流与展示的盛会。一场最新创作通报研讨会、三场作曲课公开教学、两场作曲教学和音乐创作研讨会,多场包括交响乐、民族管弦乐、民族室内乐、室内乐、钢琴独奏及电子音乐专场及鲁西南民间音乐专场演出;百余部中外作曲家作品中16首世界首演、32首中国首演、13首北京首演……这些数字无不显示出本届现代音乐节规模之大、内容形式之丰富、作曲家参与之众、作品覆盖之广、新作推出之多、作品体裁风格之多样,因此成为中国现代音乐自二十世纪八十年代出现以
On the evening of May 31, the melody of Beijing Central Conservatory of Music, “Pigeon phoenix” on the stage lingered for a long time in the hearts of every audience and lasted for 7 days starting from May 25 The 2004 Beijing Modern Music Festival finally came to an end. Since the advent of modern Chinese music, there has been a controversy that has mixed reviews and two decades of ups and downs. Today, courageous beach-goers have become the backbone of the development of Chinese music. Modern music has also become mature as the domestic art environment is relaxed. If two decades ago, the “trendy” composers were eager to understand and agree with each other, today’s new and old composers of modern music are more willing to promote the prosperity of their work based on mutual exchanges. The 2004 Beijing Modern Music Festival, sponsored by the Central Conservatory of Music, the China Conservatory of Music Theory Committee and the Creative Commune, and Dean Wang Ciwu of the Central Conservatory of Music as the producer and composer Ye Xiaogang, is the first “China Modern Music Forum ”, once again the exchange of modern Chinese music and display event. A seminar on the latest creation briefing, three open-ended teaching of composition classes and two workshops on composition teaching and music creation. Many of them included symphony, folk orchestra, national chamber music, chamber music, piano solo and electronic music, Music performances; hundreds of Chinese and foreign composers in the works of 16 world premiere, 32 Chinese premiere, 13 Beijing debut ...... These figures all show the scale of this modern festival, the rich content form, The composer’s participation, the wide coverage of the work, the introduction of many new works, and the variety of genre styles make it a modern Chinese music since the 1980s