摘要
二度创作是由演奏家将音乐艺术品从静默、静止的“文本”转为开放、动态的“音响”的关键环节。这一过程凝结了音乐表演者对于“纯意向性对象”的忠实性解读与结合个人经验的创造性实践,即接受美学中解释第一性与解释第二性之间的辩证关系。“文本”的忠实性可通过“本质还原”的方法从语境、风格、音乐语言三个层面展开;“型号”的创造性是基于主体间性的共识之上不断生成的,具有独特性和唯一性。立足于阐释学的理论视野,“视界融合”是讨论二度创作辩证问题的重要路径之一,需要音乐表演者从历史与现代、艺术与技术、个人体验与集体交流三个维度入手。
The second creation is the key link for the performer to transform the musical works from the silent and static“text”form to the open and dynamic“sound”form.This process condenses the faithful interpretation of“pure intentional objects”by music performers and the creative practice of combining personal experience,which is the dialectical relationship between the first and second nature of interpretation in reception aesthetics.The faithfulness of“text”can be carried out from three aspects of context,style and music language through the method of“essence reduction”.The creativity of“model”is constantly generated based on the consensus of inter-subjectivity,with peculiarity and uniqueness.Based on the theoretical perspective of hermeneutics,“fusion of horizons”is one of the important ways to discuss the dialectical issues of second creation,which requires music performers to start from three dimensions:history and modernity,art and technology,personal experience and collective communication.
出处
《滁州学院学报》
2023年第4期62-66,共5页
Journal of Chuzhou University
基金
江苏省研究生科研与实践创新计划项目“基于民族化视域下的中国风格钢琴改编曲研究”(SJCX22_1018)。
关键词
二度创作
同一性
创造性
现象学
视界融合
second creation
identity
creativity
phenomenology
horizon fusion
作者简介
张慧敏,南京艺术学院音乐学院硕士生,研究方向:钢琴(南京210000)。
