本文關(guān)鍵詞：溫德青三部打擊樂作品研究　出處：《上海音樂學(xué)院》2011年碩士論文　論文類型：學(xué)位論文

  更多相關(guān)文章： 溫德青 《悲歌》 《功夫》 《楊柳不怨簫》 現(xiàn)代打擊樂 中西融合 現(xiàn)代打擊樂發(fā)展及意義

【摘要】：現(xiàn)代音樂以其迅猛的發(fā)展速度和多元化的發(fā)展方式備受著關(guān)注�，F(xiàn)代打擊樂,這一現(xiàn)代音樂分支的發(fā)展在錯綜復(fù)雜的局面中顯得更為突出。對現(xiàn)代打擊樂創(chuàng)作的關(guān)注刻不容緩。及時的梳理與歸納總結(jié)有助于現(xiàn)代打擊樂創(chuàng)作的長足發(fā)展。因此,本論文將研究視角定格在“現(xiàn)代打擊樂”這一點上。 瑞士籍華裔作曲家溫德青于2007年回國,在不斷創(chuàng)作現(xiàn)代音樂作品的同時一直致力于現(xiàn)代音樂在中國的傳播與推廣工作,為中外音樂之間的交流做出了積極的貢獻(xiàn)。他的創(chuàng)作靈感多來自中國的傳統(tǒng)藝術(shù)與哲學(xué),作品結(jié)合于復(fù)雜與清晰、玄機(jī)與合理、震撼與精妙、奇想與嚴(yán)謹(jǐn)、明確與深刻之間,力圖用不同的方式創(chuàng)作不同風(fēng)格的作品。他的身上,既有扎實的西方作曲技術(shù),又根深蒂固的蘊(yùn)含著中國的音樂傳統(tǒng)。但由于歸國時間不長,加之其作品均由瑞士和德國音樂出版社出版,CD專集由意大利米蘭STRADIVARIUS公司和瑞士音樂家協(xié)會出版,故國內(nèi)知曉其人以及作品的并不多。實際上,像溫德青這樣旅居國外多年后歸國,為中西方音樂藝術(shù)之融合架起橋梁的華裔作曲家是需要被認(rèn)知的。他們的作品更需要被傳播。 本文試圖通過對溫德青三部打擊樂作品：《悲歌》、《功夫》、《楊柳不怨簫》的深入分析研究,探索其現(xiàn)代打擊樂作品的創(chuàng)作手法和思路,深入探討其在中西融合方面所做的貢獻(xiàn)。希望通過對溫德青及其現(xiàn)代打擊樂作品的深度解析,從而進(jìn)一步引起人們對海外中國作曲家和中國現(xiàn)代音樂創(chuàng)作發(fā)展的關(guān)注。同時,試圖探索現(xiàn)代打擊樂創(chuàng)作的發(fā)展趨勢及其發(fā)展所帶來的意義。
[Abstract]:Modern music has attracted much attention with its rapid development speed and diversified development mode. Modern percussion music. The development of this branch of modern music is more prominent in the complicated situation. It is urgent to pay attention to the creation of modern percussion music. Here. This thesis focuses on modern percussion music. Swiss Chinese composer Wen Deqing returned to China in 2007, and has been devoted to the dissemination and promotion of modern music in China while constantly creating modern music works. He made a positive contribution to the communication between Chinese and foreign music. His creative inspiration comes from Chinese traditional art and philosophy. His works are combined with complexity and clarity, mystery and rationality, shock and refinement, fantasy and rigour. Between clarity and profundity, he tries to create works of different styles in different ways. His body has both solid Western composition technology and deep-rooted Chinese musical tradition. But due to the time of returning home is not long. In addition, his works are published by the Swiss and German Music Publishing House and published by the STRADIVARIUS Company in Milan, Italy, and the Swiss musicians Association. Therefore, not many people and works are known in China. In fact, people like Wen Deqing returned home after many years of living abroad. Chinese composers who build bridges between Chinese and Western musical art need to be recognized. Their works need to be disseminated. This paper attempts to explore the creative techniques and ideas of Wen Deqing's modern percussion works through the in-depth analysis and study of three percussion works of Wen Deqing: sad song, kung fu, and willow not resentful Xiao. Deeply discuss its contribution to the integration of China and the West. Hope to analyze the depth of Wen Deqing and his modern percussion works. Therefore, people pay more attention to overseas Chinese composers and the development of Chinese modern music creation. At the same time, we try to explore the development trend of modern percussion music creation and its significance.
【學(xué)位授予單位】：上海音樂學(xué)院
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2011
【分類號】：J632.5

【引證文獻(xiàn)】

相關(guān)期刊論文 前1條

1 紀(jì)德綱;;論速度對位[J];音樂研究;2013年01期

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本文編號：1429602