本文選題：黃虎威　切入點(diǎn)：中西結(jié)合　出處：《四川師范大學(xué)》2010年碩士論文　論文類型：學(xué)位論文

【摘要】： 黃虎威先生的音樂創(chuàng)作和研究貫穿了整個(gè)二十世紀(jì)后半葉與二十一世紀(jì)初期,清晰的反映了中國(guó)音樂創(chuàng)作在“中西結(jié)合”的新民族音樂道路上如何克服或避免“中國(guó)音樂西方化”這一悖論;如何在音樂創(chuàng)作中準(zhǔn)確地體現(xiàn)中國(guó)傳統(tǒng)文化特有的韻味、精髓;如何保持和發(fā)揚(yáng)中國(guó)音樂文化的民族性;如何對(duì)民族的音樂語言與西方音樂理論進(jìn)行整合等方面從借鑒到自我風(fēng)格凸顯的變化軌跡。 黃虎威的音樂創(chuàng)作和理論研究始終在尋找一條“中西結(jié)合”的民族音樂發(fā)展之路。他對(duì)于西方各個(gè)時(shí)期的作曲技法與中國(guó)民族民間音樂素材結(jié)合的成功實(shí)踐,為中國(guó)新民族音樂的發(fā)展指出了一種成功的方向。色彩性和聲的創(chuàng)造應(yīng)用,轉(zhuǎn)調(diào)手法的大量更新,對(duì)音樂結(jié)構(gòu)的創(chuàng)造使用說明了他對(duì)民族音樂的貢獻(xiàn)是全方位的。黃虎威音樂作品的成功實(shí)踐為中國(guó)民族音樂的發(fā)展探索了一條成功的路子,在拓寬創(chuàng)作思維,豐富音樂表現(xiàn)力,創(chuàng)新民族音樂語言等方面都具有積極的意義。他留給后人的不僅僅是優(yōu)美的音樂作品,還有其豐富的創(chuàng)作思想內(nèi)涵,值得人們?nèi)フJ(rèn)真思考與研究。 本文立足于前人的研究成果,以黃虎威的重要理論著作和音樂作品為切入點(diǎn),全面梳理以其為代表的中國(guó)傳統(tǒng)民族音樂與西方音樂理論的結(jié)合從萌芽到變化、發(fā)展的脈絡(luò);總結(jié)性的揭示黃虎威的音樂創(chuàng)作如何實(shí)現(xiàn)中國(guó)民族音樂與西方音樂理論的共存;具體認(rèn)識(shí)及把握其作品的“中西結(jié)合”作曲技法的運(yùn)用;并創(chuàng)新性的嘗試從更廣更深的角度去分析作品中對(duì)我國(guó)傳統(tǒng)民間音調(diào)的借鑒,從而為二十世紀(jì)以來,中國(guó)民族音樂創(chuàng)作在民族性中探索“中西結(jié)合”之路的歷程總結(jié)出創(chuàng)作經(jīng)驗(yàn)。
[Abstract]:Huang Huwei's music creation and research throughout the second half of 20th century and the beginning of 21th century, It clearly reflects how Chinese music creation can overcome or avoid the paradox of "westernization of Chinese music" on the new national music road of "combination of Chinese and Western", and how to accurately reflect the unique charm and essence of Chinese traditional culture in music creation. How to maintain and develop the nationality of Chinese music culture, how to integrate the national music language with western music theory, etc. Huang Huwei's music creation and theoretical research are always looking for a way to develop "the combination of Chinese and Western" folk music. His successful practice of combining the composing techniques of various western periods with the Chinese folk music materials, It points out a successful direction for the development of Chinese new folk music. The creation and use of music structure shows that his contribution to national music is omnidirectional. The successful practice of Huang Huwei's music works has explored a successful way for the development of Chinese folk music, broadening his creative thinking and enriching his musical expressiveness. It is of great significance to innovate the language of national music, which is not only a beautiful musical work, but also a rich ideological connotation, which is worthy of serious consideration and study. Based on the previous research results, taking Huang Huwei's important theoretical works and music works as the breakthrough point, this paper comprehensively combs the context of the combination of Chinese traditional folk music and western music theory, which is represented by Huang Huwei from germination to change and development. In conclusion, it reveals how Huang Huwei's music creation realizes the coexistence of Chinese folk music and western music theory, and understands and grasps the application of composing techniques of "combination of China and the West" in his works. And innovative attempts from a broader and deeper perspective to analyze the works of traditional Chinese folk tone reference, so that since 20th century, The course of exploring the road of combining Chinese and Western in Chinese folk music creation summarizes the creative experience.
【學(xué)位授予單位】：四川師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2010
【分類號(hào)】：J624.1

【引證文獻(xiàn)】

相關(guān)碩士學(xué)位論文 前1條

1 黃雅萍;黃虎威六首藝術(shù)歌曲鋼琴伴奏研究[D];四川師范大學(xué);2011年

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本文編號(hào)：1573556