多元文化交融下敦煌舞音乐风格探究
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摘要
敦煌舞作为中国古典舞的一个类型(或流派)已发展近半个世纪,其舞蹈音乐虽由不同作曲家创作,但音乐风格却有律可循,表现出诸多共通之处。通过梳理分析,笔者认为"以特性音调为基础,结合现代审美的多元文化共融"是敦煌舞音乐的主要特征。
As a type( or school) of Chinese classical dance,Dunhuang Dance has developed for nearly half a century. Although its music is created by different composers,the music style has basic rule to follow and shows many commonalities. The paper believes that"based on characteristic tones,combined with the multi-cultural integration of modern aesthetics"is the main feature of Dunhuang dance music.
As a type( or school) of Chinese classical dance,Dunhuang Dance has developed for nearly half a century. Although its music is created by different composers,the music style has basic rule to follow and shows many commonalities. The paper believes that"based on characteristic tones,combined with the multi-cultural integration of modern aesthetics"is the main feature of Dunhuang dance music.
引文
[1]贺燕云.对敦煌舞体系的认识[J].北京舞蹈学院学报,2009(1):17.
[2]王同礼.中国古典舞剧的三级浮图:观大型舞剧《大梦敦煌》感发[J].舞蹈,2000(3):17.
[3]江东.关于敦煌舞的思辨[C]//韩兰魁.敦煌乐舞研究文集,北京:文化艺术出版社,2014.
[4]周箐葆.琵琶溯源[J].音乐探索,1985(3):46.
[5]李西林.从建构主义的视角略论敦煌乐舞的当代重建[J].交响,2014(1):47.转引自小鹿林子:如将不尽,与古为新:“唐乐舞”当代传承的三种主要形态研究[D].北京:中国艺术研究院博士论文,2012:19.
[6]施咏.中国音乐审美心理研究[D].福州:福建师范大学博士论文,2006:Ⅵ.
[7]王耀华.中国传统音乐结构的思维方式、创作方法及其特点[J].中央音乐学院学报,2010(2):41.
[8]王耀华.中国传统音乐的结构特点及其哲学基础[J].艺术百家,2010(9):98.
(1)旋法,音乐术语,指的是构成旋律的逻辑规律及方法。
[2]王同礼.中国古典舞剧的三级浮图:观大型舞剧《大梦敦煌》感发[J].舞蹈,2000(3):17.
[3]江东.关于敦煌舞的思辨[C]//韩兰魁.敦煌乐舞研究文集,北京:文化艺术出版社,2014.
[4]周箐葆.琵琶溯源[J].音乐探索,1985(3):46.
[5]李西林.从建构主义的视角略论敦煌乐舞的当代重建[J].交响,2014(1):47.转引自小鹿林子:如将不尽,与古为新:“唐乐舞”当代传承的三种主要形态研究[D].北京:中国艺术研究院博士论文,2012:19.
[6]施咏.中国音乐审美心理研究[D].福州:福建师范大学博士论文,2006:Ⅵ.
[7]王耀华.中国传统音乐结构的思维方式、创作方法及其特点[J].中央音乐学院学报,2010(2):41.
[8]王耀华.中国传统音乐的结构特点及其哲学基础[J].艺术百家,2010(9):98.
(1)旋法,音乐术语,指的是构成旋律的逻辑规律及方法。