竹笛与电子音乐《骊山吟》作品分析
发布时间:2018-10-18 09:18
【摘要】:竹笛作为古老的吹奏乐器,有着悠久、深厚的历史,在8000余年的历史长河中不断的改变,不断进化得来如今丰富的演奏技巧,而作为20世纪同电子科技一起发展起来的电子音乐,是为了追求不同的音色和音乐而产生的,它经历了具体音乐、磁带音乐、电子合成音乐和电子计算机音乐四个时期的发展;在提倡文化多元化的今天正是由于竹笛和电子音乐的音色的特殊性,使得将竹笛和电子音乐的结合成为一种新颖的表现形式,是音乐近现代史上一元化的传统音乐到多元化的现代音乐的转变,是一种新颖的演奏形式和音响效果,也是时代发展带来的产物。电子音乐的出现,以及与民族乐器的结合与发展,为中国的民族音乐、民族乐器走向世界提供了更加辽阔的空间。21世纪以来,已经有很多优秀的作曲家为竹笛与电子音乐创作出优秀的作品,在许多音乐会上都可以欣赏到这一类的作品。本文将以作曲家陈启云为竹笛、十三弦筝与电子音乐而作的作品《骊山吟》作为分析对象,从不同的角度说明竹笛与电子音乐的可融合性,希望能为竹笛的表演形式上提供更多的可能性;为这种新颖的多元化音乐风格的广阔发展空间提供有力的理论基础。
[Abstract]:As an ancient playing instrument, bamboo flute has a long and deep history. It has changed constantly in the history of more than 8000 years, and evolved to the present rich playing skills. As an electronic music developed with electronic technology in the 20th century, it is produced for the pursuit of different timbre and music. It has experienced the development of concrete music, tape music, electronic synthetic music and electronic computer music. Today, when cultural diversity is advocated, it is precisely because of the particularity of the timbre of bamboo flute and electronic music that the combination of bamboo flute and electronic music becomes a novel form of expression. It is the transformation from traditional music to diversified modern music in the modern music history. It is a novel performance form and sound effect, and it is also the product of the development of the times. The emergence of electronic music, as well as the combination and development with national musical instruments, have provided a wider space for Chinese folk music and national musical instruments to move towards the world. Many excellent composers have created excellent works for bamboo flute and electronic music, which can be appreciated in many concerts. This article will take composer Chen Qi-yun as bamboo flute, thirteen strings Zheng and electronic music as the analysis object to explain the fusion of bamboo flute and electronic music from different angles. It is hoped that it can provide more possibilities for the performance of bamboo flute and provide a strong theoretical basis for the broad development space of this novel and diversified musical style.
【学位授予单位】:四川师范大学
【学位级别】:硕士
【学位授予年份】:2017
【分类号】:J614
本文编号:2278682
[Abstract]:As an ancient playing instrument, bamboo flute has a long and deep history. It has changed constantly in the history of more than 8000 years, and evolved to the present rich playing skills. As an electronic music developed with electronic technology in the 20th century, it is produced for the pursuit of different timbre and music. It has experienced the development of concrete music, tape music, electronic synthetic music and electronic computer music. Today, when cultural diversity is advocated, it is precisely because of the particularity of the timbre of bamboo flute and electronic music that the combination of bamboo flute and electronic music becomes a novel form of expression. It is the transformation from traditional music to diversified modern music in the modern music history. It is a novel performance form and sound effect, and it is also the product of the development of the times. The emergence of electronic music, as well as the combination and development with national musical instruments, have provided a wider space for Chinese folk music and national musical instruments to move towards the world. Many excellent composers have created excellent works for bamboo flute and electronic music, which can be appreciated in many concerts. This article will take composer Chen Qi-yun as bamboo flute, thirteen strings Zheng and electronic music as the analysis object to explain the fusion of bamboo flute and electronic music from different angles. It is hoped that it can provide more possibilities for the performance of bamboo flute and provide a strong theoretical basis for the broad development space of this novel and diversified musical style.
【学位授予单位】:四川师范大学
【学位级别】:硕士
【学位授予年份】:2017
【分类号】:J614
【参考文献】
相关期刊论文 前6条
1 徐玺宝;;用声音刻画脸谱——评析张小夫电子音乐作品《脸谱Ⅱ》[J];人民音乐;2010年09期
2 吴林励;;追求中与西、古与今的交融——张小夫《诺日朗》音乐分析[J];中国音乐学;2010年02期
3 徐玺宝;;传统与现代的交响——张小夫电子音乐新作品《脸谱》评析[J];人民音乐;2007年12期
4 钱仁平;;电子音乐三题[J];黄钟(中国.武汉音乐学院学报);2007年02期
5 张小夫;电子音乐的概念界定[J];中央音乐学院学报;2002年04期
6 杨秀;;张小夫:由电子技术进入音乐“灵境”[J];科技潮;1999年11期
相关硕士学位论文 前2条
1 李超;解读乔治·克拉姆的《大宇宙》[D];哈尔滨师范大学;2013年
2 龚舒婷;中国现代音乐语境中的戏曲元素[D];中央民族大学;2008年
,本文编号:2278682
本文链接:https://www.wllwen.com/wenyilunwen/yinlelunwen/2278682.html