摘要
自1934年齐尔品发起“征求中国风味钢琴曲”以来,中国作曲家便开启了“中国风格”钢琴曲的探索,经历了萌芽与初兴、深化与拓展、多元与繁荣的三个历史时期。在形式层面,“中国风格”钢琴曲通过引用中国民族民间音调、模仿民族乐器的音色音响、运用五声性和声语言、采用“段分”曲式结构原则,展现“中国风格”。在审美层面,“中国风格”钢琴曲在融通中西方美学理念的前提下,旨在表现中国传统艺术精神,通过建构特定的艺术“意象”和“意境”,展现“中国风格”。在文化层面,“中国风格”钢琴曲与中国传统文化深度融合,力图展示中国文化的历时性和地域性,揭示中国传统文化精髓,展现“中国风格”。在“中国风格”钢琴曲中,“中国风格”既是感性的,又是理性的,更是一个可以通过听觉直接感知的音响信号。
In 1934,Alexander Nikolayevich Tcherepnine launched a composition contest of Chinese-style piano music.Since then,the exploration of creating piano music with Chinese style by Chinese composers has gone through three stages of initial development,of deepening and expanding,and of diversification and prosperity.Formally,Chinese style is presented by quoting Chinese folk tunes,imitating the sound of Chinese instruments,using pentatonic harmony,and adopting"sectional"structure.Aesthetically,the Chinese-style piano music aims to express the spirit of traditional Chinese art through the integration of Chinese and Western aesthetic concepts,and to show the Chinese style with specific musical images and moods.Culturally,the Chinese-style piano music,deeply rooted in the nation's tradition,is trying to reveal the essence of Chinese culture based on historical and regional features.In such piano music,Chinese style is achieved both emotionally and rationally,and is meanwhile perceptible through listening.
出处
《音乐艺术(上海音乐学院学报)》
CSSCI
北大核心
2024年第6期64-75,共12页
Art of Music(Journal of the Shanghai Conservatory of Music)
关键词
“中国风格”钢琴曲
历史发展
呈现形式
感性形式
Chinese-style piano works
historical development
presentation
perceptual features
作者简介
解静娴(1983年生),女,博士,上海音乐学院钢琴系副教授(上海200031)。
