彭修文模式:民族乐队建设之多元契合  

The Peng Xiuwen Model——Diversity and Combination in Building an Orchestra of Chinese Instruments

作　　者：钱建明[1] 

机构地区：[1]南京艺术学院音乐学院,江苏南京210013

出　　处：《南京艺术学院学报（音乐与表演版）》2012年第1期30-41,159,共12页Journal of Nanjing Arts Institute:Music & Performance

摘　　要：20世纪50年代以来,伴随我国政治体制、生产资料所有制、社会意识形态领域变化而出现的专业化、正规化剧场艺术,为民族乐队建设和发展带来了重要契机。"彭修文模式"以其特有的社会"行为",不仅成为参照西方音乐原理,活态性再现和重塑中国传统器乐文化的一个见证,而且通过创作表演实践,为后人留下了经验和教训双重启示。Since the 1950's there have been changes in political system and ideological foundation in China and together with these changes we have seen the professionalization and standardization in the performing arts in this country.The changes have provided important opportunities for the development of the orchestra with Chinese instruments.The Peng Xiuwen Model,borrowing principles from the western orchestra in its own unique way,has demonstrated a valuable effort with positive results in rebuilding the traditional Chinese culture,leaving experience and lessons for later generations.

关 键 词：彭修文模式 民族乐队 剧场艺术 四组结构 

分 类 号：J602[艺术—音乐] J603