我国钢琴音乐艺术的民族化特色及演奏特点分析——以《百鸟朝凤》为例
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摘要
民族音乐文化底蕴深厚,将民族文化元素与现代技法相融合,不仅有助于民族文化的传承与发扬,也是树立文化自信的重要手段。随着时代和创作理念的发展,我国钢琴音乐融入民族音乐文化逐渐成为了潮流趋势。我国钢琴艺术需根植民族文化土壤,汲取营养才能不断茁壮成长。鉴于此,以王建中改编的钢琴曲佳作《百鸟朝凤》为样本,深入分析其所呈现的民族特色,为钢琴艺术民族化发展提供一定创作启示,以期进一步促进中国钢琴音乐艺术的发展。
The national music culture is profound, the integration of national cultural elements and modern techniques is not only conducive to the inheritance and development of national culture, but also an important means to establish cultural self-confidence. With the development of times and creative ideas, it has become a trend that Chinese piano music integrating into national music culture. China's piano art needs to be rooted in the soil of national culture, to absorb nutrients to continue to grow strong. In view of this, taking the excellent piano composition Song of the Phoenix adapted by Wang Jianzhong as the sample, this paper makes an in-depth analysis of the national characteristics presented, so as to provide some creative inspiration for the nationalized development of piano art and further promote the development of Chinese piano music art.
The national music culture is profound, the integration of national cultural elements and modern techniques is not only conducive to the inheritance and development of national culture, but also an important means to establish cultural self-confidence. With the development of times and creative ideas, it has become a trend that Chinese piano music integrating into national music culture. China's piano art needs to be rooted in the soil of national culture, to absorb nutrients to continue to grow strong. In view of this, taking the excellent piano composition Song of the Phoenix adapted by Wang Jianzhong as the sample, this paper makes an in-depth analysis of the national characteristics presented, so as to provide some creative inspiration for the nationalized development of piano art and further promote the development of Chinese piano music art.
引文
[1]李响.王建中钢琴曲《百鸟朝凤》的钢琴演奏艺术及音色欣赏[J].音乐创作,2017(1):150-151.
[2]王素娟.《百鸟朝凤》的主旋律性[J].电影文学,2017(13):120-122.
[3]袁波潇.民族钢琴独奏曲《百鸟朝凤》浅析[J].四川戏剧,2014(7):129-131.
[4]白斌.王建中钢琴曲《情景》和声结构分析[J].音乐创作,2018(7):112-114.
[5]董晓梅.王建中钢琴改编曲《百鸟朝凤》中民族化创作技法探析[J].音乐创作,2012(12):123-125.
[6]朱芳.浅析王建中钢琴改编曲《云南民歌五首》的音乐特色[J].音乐创作,2010(5):69-71.
[7]刘纯.论钢琴改编曲《百鸟朝凤》中民族元素的应用及演奏[J].音乐创作,2013(11):120-122.
[8]刘一心.中国钢琴改编曲的艺术特色[J].艺术百家,2012,28(2):126-129.
[9]邵杨,周澄嫣.试论我国钢琴作品的民族特色及其风格体现[J].贵州民族研究,2018,39(4):124-127.
[10]袁伟.民族乐器音色在我国钢琴作品中的应用及演奏[J].贵州民族研究,2018,39(3):82-85.
[11]廉莹.钢琴音乐民族化的意义探究[J].音乐创作,2018(7):176-177.
[12]张晓薇,嘉依娜·热合木霍加.基于民族视角下钢琴作品的风格演进初探——评《钢琴演奏技术与风格研究》[J].高教探索,2018(3):155-158.
[2]王素娟.《百鸟朝凤》的主旋律性[J].电影文学,2017(13):120-122.
[3]袁波潇.民族钢琴独奏曲《百鸟朝凤》浅析[J].四川戏剧,2014(7):129-131.
[4]白斌.王建中钢琴曲《情景》和声结构分析[J].音乐创作,2018(7):112-114.
[5]董晓梅.王建中钢琴改编曲《百鸟朝凤》中民族化创作技法探析[J].音乐创作,2012(12):123-125.
[6]朱芳.浅析王建中钢琴改编曲《云南民歌五首》的音乐特色[J].音乐创作,2010(5):69-71.
[7]刘纯.论钢琴改编曲《百鸟朝凤》中民族元素的应用及演奏[J].音乐创作,2013(11):120-122.
[8]刘一心.中国钢琴改编曲的艺术特色[J].艺术百家,2012,28(2):126-129.
[9]邵杨,周澄嫣.试论我国钢琴作品的民族特色及其风格体现[J].贵州民族研究,2018,39(4):124-127.
[10]袁伟.民族乐器音色在我国钢琴作品中的应用及演奏[J].贵州民族研究,2018,39(3):82-85.
[11]廉莹.钢琴音乐民族化的意义探究[J].音乐创作,2018(7):176-177.
[12]张晓薇,嘉依娜·热合木霍加.基于民族视角下钢琴作品的风格演进初探——评《钢琴演奏技术与风格研究》[J].高教探索,2018(3):155-158.