【作者】 王宝龙；

【导师】 戴嘉枋；

【作者基本信息】 中央音乐学院 ， 中国近现代音乐史， 2011， 博士

【摘要】 在我国交响音乐的发展进程中,新疆地区的交响音乐创作以其独特个性和艺术魅力已成为中国交响音乐的重要组成部分。自20世纪下半叶以来,新疆的交响音乐作品从无到有、从少到多、从体裁的单一到丰富多样、从传统技法的运用到现代技法的拓展,历经了半个多世纪。经过这段历程的孕育、积淀和发展,逐渐形成为具有鲜明地域特点和民族特色的音乐创作风格,取得了骄人的业绩。笔者相信,其成就定会载入共和国的音乐史册。本论文以新疆地区交响音乐创作的发展历程为主要研究对象,以分析、研究20世纪下半叶新疆地区创作的交响音乐(包括作曲家及其作品)为主体。运用音乐史学原理,民族音乐学理论,作曲技术的方法,深入、细致地对涉及到的每部作品进行音乐学式的分析。通过有针对性和目的性的有效分析,力图揭示出在20世纪下半叶新疆地区交响音乐的发生、发展的规律,进而达到全面地认清新疆地区交响音乐全貌,包括其存在的社会环境和人文环境的实质意义。本论文的研究涵概了新疆地区10位作曲家的19部交响音乐作品。从作曲家的民族划分,有维吾尔族、哈萨克族、蒙古族、汉族四个民族。从音乐风格划分,有维吾尔风格、哈萨克风格和汉民族为代表的国内通行风格。从音乐体裁划分,有交响曲、交响诗、交响组曲、交响音诗、交响随想曲、协奏曲、管弦乐。全文除绪论外,共有五章正文,外加“结语”部分。第一章,介绍了新疆交响音乐创作发展概况；第二章,介绍了四位维吾尔族作曲家并分析了他们创作的交响音乐作品；第三章,介绍了哈萨克族、蒙古族、回族三位作曲家并分析了他们创作的交响音乐作品；第四章,介绍了四位汉族作曲家并分析了他们创作的交响音乐作品：第五章,以新观点、新视角、新认识,阐述新疆少数民族音乐在交响音乐创作中如何实现传承与超越。结语,是对全文的概括性的总结。本文在写作中,将形象描述与技术构成综合在一起加以叙述,以符合音乐史论文的文体要求。更多还原

【Abstract】 Forming as it does, part of the development of symphonic music in our country, Xin Jiang symphonic composition, with its singular characteristics and artistic charm, constitutes an important component in Chinese symphonic evolution. From the late 20th century onwards, symphonic works from Xin Jiang underwent great changes, developing out of nothing, growing from few pieces to a multitude, with musical genres expanding from a single sample to a diverse range, from traditional techniques to the development of modern ones, a transition lasting more than half a century. Gradually, a singular style of the music, with its distinctive local features and ethnic characteristics, has been formed through the processes of cultivation, accumulation and development. Great feats indeed have been achieved. These accomplishments, I believe, will constitute part of the history of music in the Republic of China.The essay will focus on the development of the composition of symphonic music in the Xin Jiang area, taking both the analysis and the research of the symphonic music (including the composers and their music pieces) composed in the late 20th century in Xin Jiang, as the main subjects. Every piece mentioned in the essay will be analyzed intensively by way of musicology, employing the principle of music historiography, the theory of ethnomusicology and the methodology of composition technique. This essay intends to reveal the pattern in which late 20th century symphonic music in Xin Jiang occurred and developed by conducting effective, pertinent and purposeful analysis in order that the music be viewed holistically. As a result, the essential significance of its existence in a social and cultural context is revealed.The research involves 19 pieces of symphonic music composed by 10 composers in Xin Jiang, drawn from four groups, namely Uyghur, Kazakh, Mongolian and Han in terms of their ethnicity. The style of music covers that of Uyghur and Kazakh together with the current style in China, taking Han as representative. In terms of music genre, the research deals with symphony, symphonic poem, symphonic suite, tone poem, capriccio, concerto and orchestral music.The introduction aside, there are altogether five chapters in addition to a conclusion. Chapter One gives a general introduction to the development of Xin Jiang’s symphonic music composition. Chapter Two introduces four Uyghur composers and analyses their works of symphonic music. Chapter Three introduces three composers of Kazakh, Mongolian and Hui origins respectively and analyses their works of symphonic music. Chapter Four introduces four Han composers and analyses their works of symphonic music; Chapter 5 elaborates from a new perspective, a new angle and a novel insight, upon the way in which the music of ethnic minority groups in Xin Jiang inherited and transcended the composition of symphonic music. The conclusion is a generalized summary of the whole essay.Due to lessons drawn from earlier essays written by others supposedly about music history, essays that actually only analyzed works, the present essay attempts to overcome this shortcoming as well as combining vivid description with the analysis of the techniques of composition in order to conform to the criterion of literary style.更多还原