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混合室内乐作品的创作中结合了丰富的艺术元素,在创作立意和具体的编配手法上均显现出独特的“跨界”思维。本文的研究以陈怡在2001年创作的三重奏作品《宁》为例,通过几个不同侧面来分析和思考如何在混合室内乐领域完成创新性的“跨界”尝试。行文中论述了作曲家在作品配器方面标新立异的中西“跨界”;在主题素材搭配方面对于中国五声调式和日本六声调式的“跨界”混搭;在复调技法运用方面穿梭于传统与现代领域的新老“跨界”;以及在曲式结构方面向戏剧体例的“跨界”借鉴。在作品分析过程中深刻感知到作曲家的艺术修养与审美情趣,也具象性的体会到“跨界”手法在当代音乐创作中的巨大能量和魅力。
Mixed chamber music works in the creation of a combination of rich artistic elements, in the creation of ideas and specific methods of arrangement are showing unique “cross-border ” thinking. This study takes Chen Yi’s trio “Ning”, which was created in 2001 as an example. Through several different aspects, he analyzes and ponders over how to accomplish innovative “cross-border” attempts in the field of mixed chamber music. In the essay, the composer discusses Chinese and Western “transborders”, which are new and unusual in their works, and the “cross-border” mash-up between Chinese five-tone and Japanese six-tone in terms of thematic materials; Shuttle old and new “cross-border” in the traditional and modern fields; and learn from the “cross-border” of theatrical style in the form of music structure. In the process of analyzing the works, he deeply perceives the artistic accomplishment and aesthetic taste of the composer, and also realizes the huge energy and charm of the “cross-border” approach in contemporary music creation.