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在我们这个多结构、多层次、多色调,新旧观念迅速更替的时代,要求戏曲艺术同当代生活同步已成为趋势。因而戏曲音乐当代性的问题,不得不引起我们的思索。对外开放,科学文化的飞速发展;电子音乐在中国的兴起;十一届三中全会后轻音乐的振兴,逐渐使戏曲观众(听众)感到戏曲音乐发展缓慢,伴奏简单乏味。戏曲音乐是戏曲艺术有机的组成部分。“戏”借助“曲”的独特性来创造和发展人物性格的整个心理过程,使音乐唱腔也成为独立的艺术的造型。戏曲音乐除完成它的艺术造型外,其中和谐的美的因素历来又是以供人们欣赏和愉悦的因素而出现的。因此,戏曲音乐也随着时代的发展而发展。从四、五十年代起,秦腔音乐就逐渐由传唱发展至记谱或由一些专业音乐工作者来设计演唱了。戏曲作曲在当代已形成一种不可阻挡的戏曲艺术的创造过程。但是我们的做法与时代的色彩相比较却是那么的格格不入。
In our era of multi-structure, multi-level, multi-color and the rapid change of old and new concepts, it has become a trend to require that opera art should be synchronized with contemporary life. Therefore, the contemporary issues of opera music have to arouse our thoughts. Opening to the outside world, the rapid development of science and culture; the rise of electronic music in China; and the rejuvenation of light music after the Third Plenary Session of the Eleventh Central Committee of the Communist Party of China gradually made the opera audience (audiences) feel the slow development of the opera music and the simple and boring accompaniment. Opera music is an integral part of the art of opera. With the uniqueness of “Qu”, “The Opera” creates and develops the whole psychological process of the characters’ personalities, and makes the music singing become the modeling of independent art. Apart from accomplishing its artistic style, operatic music has always appeared as a factor for people’s appreciation and pleasure. Therefore, opera music has also developed with the development of the times. From the 1940s and 1950s, the music of Qin Dynasty gradually evolved from the recording to the notation or by some professional musicians to design and perform. In the contemporary time, opera composition has formed an irresistible creation process of Chinese opera art. But our approach is incompatible with the colors of the times.