大提琴艺术中国化的当代实践  

The Contemporary Art Practice of The Cello Sinicization

作　　者：赵嘉楠[1] 

机构地区：[1]中国音乐学院,北京100038

出　　处：《吉林艺术学院学报》2013年第3期2-4,共3页Journal of Jilin University of Arts

摘　　要：20世纪以来,随着新音乐在中国的传播与发展,作为西方弦乐艺术重要组成部分的大提琴艺术在中国得到了一定程度的发展,并经历了逐步中国化的历史进程。新中国成立60余年来,大提琴艺术中国化的当代实践主要体现在两个方面,一是中国风格大提琴音乐作品的创作实践,二是中国风格大提琴音乐作品的演奏实践。这两个方面为大提琴艺术在中国的发展提供了可资借鉴的有益资源。Since the 20th century,with the development and spread of new music in China,an important component of the cello string art in western art in China has got a certain degree of development,and has experienced the historical process of sinicization step by step.Since the founding of new China for 60 years,the cello sinicization of contemporary art practice is mainly manifested in two aspects,one is the creation of the Chinese style cello music works,the second is the practice of Chinese style music works of cello.These two aspects for the cello art in China’s development provide a good resource for reference.

关 键 词：大提琴艺术 中国化 创作 演奏 

分 类 号：J622.3[艺术—音乐]