经过新音乐实验的元点走向中国文化实质的探索与实践——论“新潮”音乐及当代音乐创作的方向

发布时间：2018-10-30 21:06

【摘要】：研究自20世纪下半叶以来,尤其是"新潮"音乐的产生及其带来的中国新音乐创作的实践,它的文化归属、创作理念、在新的历史时期的发展、与西方音乐的关系等方面所引发的问题,引起笔者对当代音乐创作的诸多思考。一段为"新潮"音乐流派的"特定的历史文化过程",在不断地演化发展中仍然没有淡出人们的视线,称作"新潮派"的青年作曲家们,在西方现代技术的"中国化"方面体现的是民族风格的共性追求。新一代实验者们注重音乐中的新音响、新技术的探寻以求得个性化的张扬。本文以郭文景、谭盾、陈怡、唐建平等当代作曲家的创作观念取向为例,对他们的创作及其给中国音乐创作思维带来的巨大影响给予确认。并对创新的实验性与传统作曲技术的继承与发展问题,提出方向性意见。
[Abstract]:Since the second half of the 20th century, especially the emergence of "new trend" music and its practice of Chinese new music creation, its cultural ownership, creative concept, and development in the new historical period, especially since the second half of the 20th century, The problems caused by the relationship with western music have aroused the author's thoughts on contemporary music creation. A "specific historical and cultural process" of the "trendy" genre of music has not faded out of sight in the continuous evolution and development of young composers, known as the "trendy". The common pursuit of national style is embodied in the "Sinicization" of western modern technology. The new generation of experimenters pay attention to the new sound in music, the exploration of new technology in order to gain personalized publicity. Taking Guo Wenjing, Tan Dun, Chen Yi, Tang Jianping and other contemporary composers as examples, this paper confirms their creation and its great influence on Chinese music creation thinking. At the same time, the paper puts forward some suggestions on the inheritance and development of innovative experimental and traditional composing techniques.
【作者单位】：中央音乐学院;
【基金】：中央音乐学院博士后工作站博士后研究课题:《二十世纪下半叶以来中国作曲家作品的和声语言》
【分类号】：J614

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