本文選題：川江號(hào)子 + 川江頌　； 參考：《西南大學(xué)》2015年碩士論文

【摘要】：大型交響合唱《川江頌》是運(yùn)用民族音樂(lè)“川江號(hào)子”的素材進(jìn)行創(chuàng)作的作品,是創(chuàng)作者們與川江號(hào)子傳承人一起對(duì)川江號(hào)子進(jìn)一步創(chuàng)新發(fā)展的嘗試。川江號(hào)子的歷史極為悠久,是川江船工在幾千年的駕船勞作中的偉大創(chuàng)造,2006年5月20日,民族音樂(lè)“川江號(hào)子”經(jīng)國(guó)務(wù)院批準(zhǔn)列入第一批國(guó)家級(jí)非物質(zhì)文化遺產(chǎn)名錄。為了更好的傳承和發(fā)展川江號(hào)子,本土作曲家們積極對(duì)川江號(hào)子進(jìn)行搜集整理創(chuàng)作,大型交響合唱《川江頌》的創(chuàng)作者們便是其中之一。在大型交響合唱《川江頌》未整體完成之前,作品中的部分選曲曾多次在國(guó)際、國(guó)內(nèi)的音樂(lè)舞臺(tái)上演出。創(chuàng)作者們?cè)诖似陂g不斷積累經(jīng)驗(yàn),得到了寶貴的意見(jiàn)和反饋,對(duì)于大型交響合唱《川江頌》的修改和完成有著重要的意義,這期間創(chuàng)作者們將川江號(hào)子材料的曲式結(jié)構(gòu)作相應(yīng)調(diào)整、使原單旋律和聲化、豐富其樂(lè)曲調(diào)性、將部分無(wú)伴奏合唱曲目改編為交響合唱；歌詞方面即保留了下里巴人的原詞,也增加了雅俗共賞的新創(chuàng)內(nèi)容。談到上述的創(chuàng)作手法,其實(shí)與現(xiàn)在越來(lái)越多的音樂(lè)融合創(chuàng)作分不開(kāi)。伴隨著人類歷史的發(fā)展,音樂(lè)元素的融合在各族文化不斷的碰撞中不斷演變,由于時(shí)代的變遷和科技的快速發(fā)展,當(dāng)今國(guó)際交往日益頻繁,文化的交流融合呈一種必然的態(tài)勢(shì)加速進(jìn)行著。挖掘民族民俗音樂(lè)精髓為今所用是當(dāng)代音樂(lè)創(chuàng)作的一個(gè)重點(diǎn),也是與國(guó)際文化交流的一個(gè)亮點(diǎn),而運(yùn)用西洋音樂(lè)與原生態(tài)音樂(lè)相結(jié)合的手法來(lái)創(chuàng)作“川江號(hào)子”則是一條走向大眾、走向國(guó)際,弘揚(yáng)民族音樂(lè)文化的有效途徑。大型交響合唱《川江頌》的創(chuàng)作者們以與時(shí)俱進(jìn)的思想理念,不拘泥于原生態(tài)音樂(lè)本身而創(chuàng)新塑造川江風(fēng)情,尊重原作,保留神韻精華,大膽創(chuàng)新,注入世代活氣,為歷史悠久的川江號(hào)子重新煥發(fā)青春活力盡到了一己之力。本文中,筆者通過(guò)對(duì)大型交響合唱《川江頌》的介紹、分析,詮釋這部以川江號(hào)子為基點(diǎn)而創(chuàng)作的交響合唱,論述《川江頌》以洋為中用、古為今用、門類交錯(cuò)的手段,將西洋音樂(lè)創(chuàng)作技法、當(dāng)代藝術(shù)審美作為該作品主要融合方向,并加入多類藝術(shù)元素進(jìn)行創(chuàng)作表演的作用和意義。
[Abstract]:The large-scale symphonic chorus "Song of the Sichuan River" is a work created by using the material of the folk music "Chuan Jiang Buzi", and it is an attempt by the creators and the Chuanjiang Legend to further innovate and develop the Chuanjiang Rivers. Chuanjiang Shipyard has a very long history, which is the great creation of Chuanjiang Shipyard in the thousands of years of boat work. On May 20, 2006, the folk music Chuanjiang Buzi was approved by the State Council to be included in the first batch of state-level intangible cultural heritage list. In order to better inherit and develop Chuanjiang Shouzi, local composers actively collect and create Chuanjiang Buzi, and the creators of the large-scale symphonic chorus "Ode to the Chuanjiang River" are one of them. Before the completion of the large-scale symphonic chorus "Song of Chuanjiang", some of the selected songs in the works have been performed on the international and domestic musical stage many times. During this period, the creators have accumulated experience and received valuable advice and feedback, which is of great significance to the revision and completion of the large-scale symphonic chorus "Song of the Sichuan River". During this period, the creators adjusted the musical structure of the Chuanjiang submaterial accordingly, so that the original single melody could be harmonised, enriching the tone of its music, and adapting part of the repertoire of the accompaniment chorus to the symphony chorus. In terms of lyrics, the original words of the Lower Riba people were retained. Has also increased the elegant common appreciation new creation content. The above-mentioned creative techniques, in fact, and now more and more music fusion creation inseparable. With the development of human history, the integration of music elements in the continuous collision of cultures of all ethnic groups, due to the changes of the times and the rapid development of science and technology, the international exchanges are becoming more and more frequent. The communication and fusion of culture is accelerating in an inevitable way. Digging up the essence of folk music for use today is an important part of contemporary music creation and a highlight of cultural exchanges with the international community. Using the combination of western music and original ecological music to create Chuanjiang Buzi is an effective way to go to the public, to the world and to carry forward the national music culture. The creators of the large-scale symphonic chorus "Ode to the Chuan Jiang", with the idea of keeping pace with the times, innovating and shaping Chuanjiang's amorous feelings, respecting the original works, retaining the essence of charm, boldly innovating and infusing the living spirit of generations, are not confined to the original music itself. For the long history of the Chuanjiang River regenerated the vitality of youth to do their own. In this paper, the author analyzes and interprets the symphonic chorus composed on the basis of the Chorus of Chuanjiang River through the introduction of the large-scale symphonic chorus "Song of the Sichuan River", and discusses the means of "Song of the River of Chuanjiang" to be used in China, used in the past for the present, and staggered in categories. Western music creation techniques, contemporary art aesthetics as the main integration direction of the work, and the role and significance of adding a variety of artistic elements for creative performance.
【學(xué)位授予單位】：西南大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2015
【分類號(hào)】：J605

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相關(guān)期刊論文 前3條

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本文編號(hào)：1945324