从筝曲《阿拉木·古丽巴拉》看乐曲移植的创新意义  

The Innovative Significance of Transcribe Music

作　　者：赵德义[1] 陈明[1] 

机构地区：[1]武汉音乐学院作曲系

出　　处：《黄钟（武汉音乐学院学报）》2007年第4期136-138,共3页Huangzhong:Journal of Wuhan Conservatory of Music

摘　　要：2002年,青年古筝表演艺术家高雁根据作曲家顾冠仁先生的弹拨乐合奏曲《阿拉木.古丽巴拉》移植、改编而成的同名筝曲,在由文化部举办的"全国青少年艺术大赛民族器乐比赛"中,荣膺"优秀新作品奖"。该作品现在已经成为了一首成熟的教学与演出曲目,也是乐曲移植领域里又一个较为成功的范例。与原弹拨乐合奏相比较,移植后的古筝独奏曲在体现乐曲风格、塑造艺术形象方面具有异曲同工之美。The zheng music Alamu Crulibala was transcribed from Gu Guaaaren＇s pluck instrumental ensemble by Gao Yan in 2002 and it won the prize of Excellence New Work in the National Youth Art Competition （Chinese Traditional Musical Instruments Competition） held by Ministry of Culture. Compared with the original pluck instrumental ensemble work, it is truly remarkable that the transcribed zheng solo piece Alamu Gulibala so differently can achieve the same effect on the aspects of the style and figuring art image. It was a good example of transcribing successfully and it become a teaching and playing repertoire nowadays.

关 键 词：高雁 古筝独奏曲 《阿拉木.古丽巴拉》 创新意义 

分 类 号：J607[艺术—音乐]