论文部分内容阅读
20世纪音乐创作的进步是与技法的不断创新分不开的，这并非是 20世纪的作曲家们喜欢猎奇和求异，而在于他们试图竭尽全力地走出传统的篱笆，寻求艺术表现上的绝对自由，以回归到个性心灵迹象的展衍中，为此，而非得寻求到位的、最合适的表现手段，以达到创作者主体和审美对象的高度契合。游学于德国的作曲家刘铮，正是在这条道路上不断行进的一个探索者，他不仅在国内饱受过多年的专业音乐创作训练，而且又接受了西欧最先进作曲技法十年的浸润，在中西文化调和中，去年终以一曲交响作品《月夜——唐诗写意》在勃拉姆斯音乐节上获得成功，引起人们的广泛关注。本文作者正好有机会了解到有关作曲家个人以及创作这部作品的情况，藉此一并介绍给大家。
The progress of musical writing in the 20th century is inseparable from the constant innovation of techniques. It is not that twentieth-century composers like to search for novelty and difference, but rather that they try to make every effort to walk out of the traditional fence and seek the absolute expression of artistic expression Freedom, in order to return to the development of personality signs of the soul, for which reason, rather than seeking the right place in place, the most appropriate means of expression in order to achieve the creator of the subject and aesthetic objects highly fit. Liu Zheng, a composer who studied in Germany, is an explorer who keeps moving on this path. He not only trained in many years of professional music in China, but also accepted the most advanced infiltration techniques in Western Europe for ten years, In the mediation of Chinese and Western culture, the success of the symphony “Moonlight - Freehand Poetry” at the Brahms Festival ended the year last year, arousing widespread concern. The author of this essay has just had the opportunity to learn about the composer and the creation of this work, which will be introduced to everyone.