中国风格:困境中的抉择——中国新潮音乐西传面面观  

The Chinese Style, an Option in Dilemma:The Visage of the New Chinese Music Going to the West

作　　者：毕明辉[1] 

机构地区：[1]复旦大学

出　　处：《人民音乐》2007年第10期17-19,共3页People’s Music

摘　　要：中国音乐流传西方，西方人通过音乐来认识中国，是一个有趣而引人深思的话题。20世纪80年代以来，随着中国改革开放步伐的日趋加快，中西文化交流深度和广度的加大，中国新潮音乐在西方异军突起，成为一支鲜活的当代力量，登上西方音乐舞台。时至今日，与这支力量相联系的一系列名字：谭盾、郭文景、陈其钢、刘滠、黄安伦、瞿小松、苏聪、叶小纲、盛宗亮等，均已在西方世界获得一定声誉。The phenomenon that the Chinese music has been introduced to the West and that the Westerns get to know about China through music becomes an interesting and inspiring topic for discussion. Since the 1980's, with the increasingly rapid pace of reforms and opening up in the country, and with the greater depth and width of Sino-West cultural exchanges, the new Chinese music has suddenly become a lively force on the Western stages, as if coming out of nowhere. So far, a number of names can be associated with this force: Tan Dun, Guo Wenjing, Chen Qigang, Liu Yuan, Huang Anlun, Qu Xiaosong, Su Cong, Ye Xiaogang and Sheng Zongliang, all of whom have won some reputation in the West. The Chinese traditional ideas, Chinese musical languages, and Chinese artistic implications, which are represented in their works, all of these have more or less become symbols of Chinese style. The composers' native Chinese identity have naturally brought to the Westerns this hint that their music is no doubt the most representative of the Chinese style. However, among the works of contemporary Chinese composers that have been introduced to the outside world, some have been highly acclaimed, and others have been severely blamed; some have been regarded as promoter of Chinese music, and others have been seen as distorter of Chinese music. These composers, who value most the originality in their creation, are facing the problem as to how to develop native cultures and maintain the cultures of their native tongues in the context of cultural globalization. Moreover, when they are attempting to find the best balance between the Chinese and Western music after having unconsciously been influenced by the Western musical culture, their value orientation, objectives of composing and even their cultural identities are often questioned by their colleagues. In comparison to the composers of the elder generation, who grew up under the spirit of the May Fourth Movement, those of the modern times are obviously facing a greater dilemma. The discontinuation

关 键 词：中国风格 新潮音乐 20世纪80年代以来 西传 中西文化交流 西方人 中国音乐 改革开放 

分 类 号：J605[艺术—音乐]