纵观近年来交响音乐的创作,确有变化迅猛,不同以往,令人耳目一新之感。首先在取材上,大多数作品强调了音乐的主体品格,不再将音乐依附于政治口号抑或其他艺术形式如文学、诗歌、戏剧、美术等等之上。前几年,有过所谓“自律论”与“他律论”之争。其实,音乐的主体品格是另一范畴的问题,并不一定“他律”的音乐必定会丧失主体品格,而“自律”的作品就自然获得主体品格。在许多情况下,音乐的“主体品格”只有依靠音乐本身魅力的强化。这几年来,大多数作品都摆脱了政治图解式的倾向,人们的注意力转向原始部落的习俗、礼仪、崇拜与战争;转向历史传说中的事件、人物、材料;转向大自然的风土人情;转向音的构成中所蕴藏的规律与内涵。同时也摆脱了长期以来统治着 Looking at the creation of symphonic music in recent years, it is indeed a rapidly changing and different experience that has given us a refreshing feeling. First of all, on the material, most of the works emphasize the main character of music and no longer depend on the political slogans or other artistic forms such as literature, poetry, drama, art and so on. A few years ago, there have been so-called “self-discipline theory” and “other theories” dispute. In fact, the main character of music is a problem in another category. It is not always the case that the music of “other disciplines” will lose the character of the subject, while the works of “self-discipline” naturally acquire the character of the subject. In many cases, the “subject character” of music depends only on the enhancement of the charm of the music itself. In recent years, most works have got rid of the tendency of political illustration. People’s attention has turned to the customs, etiquette, worship and war of the primitive tribes. They have turned to events, figures and materials in historical legends. They have turned their attention to the local customs and practices of nature. Steering tone in the composition of the law and content. At the same time out of the long ruled