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“中国风格”总体而言,是指通过不同的创作手段和技法,在作品中所表达和传递出的一种具有中国本国特色的气质和风貌。因此,所谓的“中国风格”并不是指某个单一的流派、风格和技法,而是一种包容的、多元化的、以中国文化和审美为源泉的创作理念和标识。而换言之,不同的作曲家或不同时代在创作技法和构思上的差异,也会使“中国风格”在具体的听感上存在很大的差异。在当今的众多二胡曲目,特别是二胡的新作品中,“中国风格”的表达越来越呈现出多样化的趋势。在此文中,笔者将以一首近年来新创作的二胡作品《弦歌》为例,从笔者自身对这部作品的一些认识来谈谈“中国风格”在二胡新作品中的体现与表达。
“Chinese style ” In general, refers to the different temperament and style of Chinese characteristics expressed and conveyed in the works through different creative means and techniques. Therefore, the so-called “Chinese style ” does not mean a single genre, style and technique, but an inclusive and diverse creative concept and logo that is based on Chinese culture and aesthetics. In other words, different composers or different times in the creative techniques and conceptual differences, will make “Chinese style ” in the specific sense of hearing there is a big difference. In today’s many erhu tracks, especially the new erhu works, the expression of “Chinese style” is showing a trend of diversification. In this article, I will use a new creation of erhu works in recent years, “string songs” as an example, from the author’s own understanding of this work to talk about “Chinese style ” in the new works of erhu expression and expression .