闵惠芬二度创作初探

【作者】 张丽；

【导师】 刘承华；

【作者基本信息】 南京艺术学院 ， 音乐学， 2010， 博士

【摘要】 二胡演奏家闵惠芬是新中国高等专业音乐院校培养出来的首批民乐演奏家,五十多的艺术之旅,计演奏作品一百多首,其中有30多首成为经典。这些作品上至20世纪初由当代二胡学派先驱刘天华先生创作的十首二胡曲,下至20世纪未由当代作曲家用新技法创作的二胡新曲,横贯当代二胡艺术的发展史。在当代二胡史上,闵惠芬以其成就、精神、人格已成为一面旗帜、一座丰碑。闵惠芬的成就主要在二度创作上,但做为一位表演艺术家,闵惠芬的二胡演奏艺术走的不是炫技之路(闵惠芬的演奏技术非常棒,因为实现艺术表现的前提是技术过关。),也不是为艺术而艺术之路,而是为人生而艺术的重在艺术表现之路。因此本文对闵惠芬二度创作的探讨从以下三个层面进行考察与分析。一是微观形态的考察与分析,即闵惠芬提出的“器乐演奏声腔化”,这是闵惠芬二度创作的细胞、生长点。二是中观层次的考察与分析,主要考察闵惠芬对作品整体与局部的处理。三是宏观层次的考察与分析,主要考察闵惠芬如何向生活学习,向传统、向人民学习音乐语言,丰富自已的艺术表现,如何将自已的人生理想融进二度创作。这三个层次相互联系相互影响共同营造着闵惠芬整体艺术的生成。由于研究的重点实际上也有赖于非重点的侧面支撑。所以有了第一章和第二章的内容,第一章是对闵惠芬艺术生涯的概述,具有“历史中的作者”的意义。第二章是对闵惠芬从实践中提升的艺术理论“器乐演奏声腔化”生成的人文背景和历程的论述。这两部分是我们了解闵惠芬二度创作必要的历史性资料。当代二胡艺术的发展即将百年,在发展上还处于积累期,如何推进当代二胡艺术的可持续发展,纵深发展,解决“传承与创新”、“民族性与时代性”、“民族化”是当代二胡界,也是当代民乐界面临的现实问题。有了问题就要解决,抽象的议论是不能解决问题的。所以本文希望通过对闵惠芬个人的艺术之旅和艺术成就这个典型的个案,试图找到部分解决问题的方法。因此本研究有两重意义:一重是对从史学意义上,对闵惠芬二度创作进行艺术总结;一重是希望闵惠芬的艺术成果能在一定程度上对当代二胡艺术的发展具有推动作用和启迪意义。更多还原

【Abstract】 Min Huifen,an Erhu virtuoso,is one of the first batch of folk music performers trained by the higher professional musical institutions of new China. During his 50 years of professional musical life spend, he played more than100 pieces of music works, 30 of which become classical. These works, ranging from the 10 pieces of Erhu music created by the pioneer of modern erhu school, Mr. Liu Tianhua in the early 20th century, down to the new erhu music written by the contemporary composers in new techniques in the late 20th century, covers the history of the contemporary erhu development. And in the contemporary erhu history, Min Huifen has becom a banner and a monument due to his achievements, spirit and his personality.Min Huifen’s achievements is mainly in the second creation. But as a performing artist, Min Huifen doesn’t play erhu in a way of showing off { Min Huifen’s playing technique is great, since the premise of the achievement of artistic expression is technical clearance}, nor is the road of art for art, but is the way of emphasizing art purely for life itself. Therefore, the inspection in this article on the erhu creation of Min Huifen is mainly from the following three levels.First,is to study and analysis in the microscopic morphology. That is, the theory of" to imitate people’s voice by musical instruments”. This is the cells and growing point of her creation. Second is to investigate and analysis in the middle level. That is mainly to study how Min Huifen handles her work as a whole and local processing. Third, the macro-level study and analysis, is mainly about how Min Huifen enriches his artistic expression by learning musical languages from life , tradition ,and people, and how she melts her own ideals into the second creation These three levels of linkages and interaction work together to have created the whole generation of the Min Huifen art. As the focus of the study actually depends on the support of the non-focus, here comes Chapter I and Chapter II. .The first chapter is an overview of Min Huifen’s artistic career, with the significance of“the author in history”. Chapter II discusses the cultural background and the history of the artistic theory promoted from the practice,“to imitate people’s voice by musical instruments”. These two parts are the historical information essential to our understanding of Min Huifen’s second creation.The contemporary erhu art will soon develop for a century and is still in the accumulation period.It is a practical issue faced with by the contemporary Erhu community as well as the contemporary folk music community how to give impetus to the sustainable and in-depth development of contemporary Erhu art, and how to solve the issue of "Inheritance and Innovation", "Nationality and the Times," and "Nationalization". A problem that turns up has to be solved ,but the abstract argument can not solve it at all. Therefore, this paper tries to find a partial solution to the problem through the analysis of the typical case of Min Huifen’s personal journey of art and artistic achievements.Therefore, this study has two meanings. One is the artistic summary of Min Huifen’s second creation; the other one is to hope that her artistic achievements may to some extent promote and enlighten the development of the contemporary erhu art.更多还原