论金湘音乐语言  

On Jin Xiang's Musical Language

作　　者：冯广映[1] 

机构地区：[1]北京师范大学艺术与传媒学院音乐系

出　　处：《黄钟（武汉音乐学院学报）》2011年第4期120-128,共9页Huangzhong:Journal of Wuhan Conservatory of Music

基　　金：北京师范大学资深教授黄会林先生所主持的教育部哲学社会科学研究重大课题公关项目"中国艺术学科体系建设研究"(批准文号:07JZD0032)的阶段性成果

摘　　要：金湘的歌剧与他的其它音乐作品,今年来越来越多地被世人关注,出现了研究热潮,可以在不同的媒介、报刊杂志看到许多研究的文章,但对其音乐的本质———研究其音乐语言的文章很难发现,笔者出于这种考虑,试图从音乐本体着手,比较深入地研究一下金湘的音乐语言。近年能有机会近距离接触到金湘先生一些新创作的作品,歌剧《杨贵妃》、歌剧《八女投江》、交响合唱《金陵祭》、琵琶协奏曲、歌剧《楚霸王》等,从中领悟了许多金湘对于中国音乐风格的解读,并从新音乐角度观察到其新的音乐语言。For Jin Xiang＇s operas,just like his other music compositions,more and more is paid attention to by the people,appeared a upsurge of research,and it can be seen a numbers of research articles in various medias,newspapers and publication magazines.It is rarely to find the thesis to study its musical language-the music essence,however.Given that reason,the writer made deep research on Jin Xiang＇s musical language from his music main body.In recent years,the author had the opportunity to learn Jin Xiang＇s new creation works such as operas Consort Yang Yuhuan,Eight Heroines who Drowned Themselves in a River,large-scale choral work Memorial Ceremony for Nanking,pipa concerto,and opera Xiang Yu（Hegemon-King of Western Chu）.The author realized a lot of Jin Xiang＇s comprehension of Chinese music style,and observed his new musical language from the viewpoint of new music.

关 键 词：金湘 音乐语言 乐律学 歌剧 新调性 新调性主义 

分 类 号：J614.3[艺术—音乐]