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《蜀韵》是贾达群1995年为两把小提琴、钢琴与打击乐而作的一部室内乐①。这部作品曾先后在包括“2000横滨亚洲音乐周”、“2002上海———台北音乐会”等在内的多次重大演出活动中公演,获得了普通观众与专业人士的广泛好评②。2003年10月21日,在“中国成都国际现代音乐节暨第四届全国中青年作曲家新作品交流会”期间举办的“上海音乐学院新音乐团专场音乐会”上,《蜀韵》又一次成功演出,并获得了来自国际、国内众多音乐界同行的高度评价。2004年,《蜀韵》更是入选了“20世纪华人音乐经典”。一部现代音乐作品,能够在相当长的一段时期内反复公演,并且得到一般观众与专业人士的共同喜爱,这本身其实已经就是一个值得思考的问题,尤其是在学界再次关注、重新审视新音乐创作“艺术性”与“可听性”关系的当下。笔者通过“听觉分析”与“谱面分析”,认为,这部作品的成功,也正是妥善地处理了“艺术性”与“可听性”之间的关系,以严谨的结构与鲜活的音响传达出作品目标指向之意韵。本文将主要从整体结构、音高组织、音响形态等三个方面来初步解析《蜀韵》的韵律之所在。
“Shu Yun” is Jia Daqun in 1995 for two violin, piano and percussion and made a chamber music ①. The work has performed in many major performances including the “2000 Yokohama Asian Music Week” and the “2002 Shanghai - Taipei Concert”, winning wide acclaim from ordinary viewers and professionals. On October 21, 2003, at the concert of “New Concert Symphony of Shanghai Conservatory of Music” held during the “Chengdu International Modern Music Festival and the Fourth National Young and Middle-aged Composer New Work Exchange Meeting”, “Shu Yun” A successful performance, and received from the international and domestic many music industry peers spoke highly of. In 2004, “Shu Yun” was selected “20th Century Chinese Music Classics.” A modern musical piece that can be staged repeatedly for quite a long period of time and enjoys the common love of the general audience and professionals is in fact already a matter worth pondering. In particular, the academic community again pays attention to reexamining new music The moment of creating the relationship between artistry and audibility. Through “auditory analysis” and “spectrum analysis”, the author believes that the success of this work is also the proper handling of the relationship between “artistic” and “audibility”, with rigorous structure and vivid Sound to convey the meaning of the work of the target meaning. This article will primarily analyze the rhythm of “Shu Yun” from the three aspects of the overall structure, pitch organization and sound shape.