二十世纪中国民族管弦乐配器中的音色观念研究

【作者】 匡君；

【导师】 杨青；

【作者基本信息】 首都师范大学 ， 音乐学， 2008， 博士

【摘要】 20世纪,中国民族管弦乐艺术从民间走向专业,从传统走向现代,经历了一个产生、发展,并逐步走向成熟的过程。本文尝试从哲学、美学等文化传统和文化背景中来探索这一时期作曲家们的“音色观念”,搜集了大量20世纪民族管弦乐作品的乐谱、音响,以及前人的有关研究成果,并对其进行较为细致、全面的分析,特别是分析其中的配器技法和配器风格,希望通过对中国民族管弦乐配器中音色分配和音色处理的分析,达到研究民族管弦乐配器中“音色观念”的目的。中国传统音乐历史悠久,长期以来形成了重视音色、追求音色多样化和个性化的音色观念。本文第一章从音色的声学原理入手,阐述了音色的概念与性质;分析了传统乐器和传统器乐合奏中的音色观念,并指出它是在“天人合一”的哲学思想指导下产生的。自20世纪初开始,西方音乐强势进入,西洋音乐的创作观念及其音色观念也直接影响到了中国民族管弦乐艺术的产生与发展。从新文化运动到1978年改革开放,我国民乐界努力按照欧洲古典派和浪漫派音乐中“融合统一”的音色观念,发展大型的民族管弦乐。本文第二章从乐器改革、乐队建制、配器手法、演奏法的处理等方面,对这一时期民族管弦乐配器中的音色观念进行了分析研究。改革开放以来,随着各项政策的实施和思想意识的解放,在“反对音乐文化全球统一化”思想的影响下,为了创作合乎本民族特点的音乐作品,许多作曲家,特别是年青作曲家的创作观念发生了变化,民族管弦乐配器中的音色观念表现出对传统的回归。本文第三章从扩大音色源、乐队编制多样化、纵向声部结合的多样化和个性化及横向结构中的音色变化与对比等方面,阐述了民族管弦乐配器艺术中重视音色、追求音色多样化和个性化等传统音色观念回归的种种表现。结语部分是本文的概括与总结。本文认为,在20世纪民族管弦乐配器艺术的发展过程中,两种不同音色观念的相互作用、相互影响推动了民族管弦乐艺术的发展,传统音色观念走过了一条“螺旋式回归”的发展道路。在全球化的过程中,传统音色观念的回归,对21世纪民族管弦乐艺术的发展和世界音乐的多元有极其重要的意义。更多还原

【Abstract】 The art of the Chinese Orchestra have experienced an evolution from popular to professional, from traditional to modern, and from newly emerging to well-developed in the 20th century. The thesis tries to probe the composer’s "sense of tone color" from the aspects of cultural tradition of philosophy and aesthetics and of cultural background. Many music scores and sound of the Chinese Orchestra works and achievements in former study, especially the orchestration skill and style within them, are collected to be analyzed carefully and comprehensively. It aims at expounding "the sense of tone color" in the orchestration of the Chinese Orchestra by analyzing the distribution and disposal of the tone color in it.Chinese traditional music has a long history during which the sense of tone color of paying great attention to tone color and pursuing diversified and special tone color has formed. The first chapter expounds the concept and the characters of the tone color starting with the principle of acoustics of it, analyzes the sense of tone color in traditional instrumental ensemble, and points out that the sense of tone color emerged by the influence of the philosophic thought of "heaven and man combine to one".From the beginning of the 20th century, western music had come into China overwhelmingly. The idea of composition and the sense of tone color of western music have influenced the emerging and developing of the Chinese Orchestra art. From New Culture Movement to open policy implemented in the year of 1978, large-scale Orchestra has developed under the influence of the sense of tone color of "fusion and unity" in European classical music and romantic music. The second chapter of the thesis analyzes the sense of tone color in the Chinese Orchestra of this period from the aspects of the instrument reform, orchestra organizational system, the orchestration skill, and the disposal of performing method.Since the open policy implemented, with practice of various policies and liberation of ideology, many composers, especially young composers has changed their idea of composition under the influence of the thought of "being against the global unity of music culture " in order to compose works conformed to national characteristic. The sense of tone color in the orchestration of Chinese Orchestra displays the regression to tradition. From the aspects of the expanding of the tone color source, the variety of the orchestra quotas, the variety and speciality of the combination of vertical part, and the change and comparison of the tone color of the horizontal structure, the third chapter of the thesis expounds the regression of the traditional sense of tone color which displaying the emphasis of tone color and the pursuit of diversified and special tone color.The concluding remarks are the generalization and summation of the thesis. It displays that during the evolution of the orchestration art of the Chinese Orchestra in the 20th century, two different senses of tone color which interacting and influencing each other push forward the evolution of the Chinese Orchestra art and the traditional sense of tone color has regressed. With the evolution of global unity, the regression of traditional sense of tone color is very important to the evolution of the Chinese Orchestra art and the pluralism of the world music in the 21 st century.更多还原