【摘要】：正如果說,自上個(gè)世紀(jì)末的改革開放使不少作曲家?guī)缀跏请S著西方現(xiàn)代音樂風(fēng)潮"跑步"進(jìn)入新時(shí)代的話,那么,當(dāng)今,這些作曲家的創(chuàng)作也均已步入"中年",他們已經(jīng)能夠面對(duì)世界現(xiàn)代文化藝術(shù)的風(fēng)潮迭起而"處世不驚",理智地汲取外來音樂文化中對(duì)自己有用的東西,重新建立起對(duì)自己民族文化的自信心——這是我國(guó)當(dāng)代音樂創(chuàng)作發(fā)展至今的最明顯變化。我想舉兩個(gè)例子來說明自己為什么會(huì)得出這樣的印象:在2009年福建藝術(shù)研究院主辦的第四屆《京、滬、閩現(xiàn)代音樂創(chuàng)作研討會(huì)》上,
[Abstract]:If it is said that since the reform and opening up at the end of the last century, many composers have almost entered a new era with the trend of modern western music "running", these composers have now entered the "middle age" in their creations. They have been able to cope with the wave of modern culture and art in the world and "live in the world without surprise" and rationally draw on what is useful to them in the foreign music culture. To re-establish confidence in our national culture is the most obvious change in the development of contemporary music creation in China. I would like to cite two examples to illustrate why I came to this impression: at the fourth Beijing, Shanghai and Fujian Modern Music creation Symposium, sponsored by the Fujian Academy of Art in 2009,
【作者單位】： 中央音樂學(xué)院;
【分類號(hào)】：J614
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本文編號(hào)：2311878