现代民族管弦乐配器的“互动”思维——以国乐剧场为例  

“Interactive Thinking”in the Orchestration of Contemporary Chinese Orchestra——Taking Traditional Chinese Music Theatre as an Example

作　　者：陈明志[1] 

机构地区：[1]上海音乐学院

出　　处：《浙江艺术职业学院学报》2013年第3期31-39,共9页Journal of Zhejiang Vocational Academy of Art

基　　金：2011年上海市教育委员会科研创新项目<现代民族管弦乐乐器法与配器思维探究>成果之一。(项目编号:09ZS71)

摘　　要：随着全球化效应及计算机信息的科技普及化,我们的生活进入了一个以信息内容为主的新时代。正是由于人类生活步调及观念的改变,导致许多传统活动的价值及呈现模式亦逐渐转化,民族管弦乐团的经营发展自不例外。不少作曲家、编配者因应乐团在市场的需求下,将"音乐剧场"及"互动"的思维注入民族管弦乐的创作天地里。这些作品展示了作曲家分别从时间、空间、动作、语言以至非传统舞台展示等配器思考,并展现了一种前所未有的乐队音响结构和崭新的艺术表现空间,令人意识到民族管弦乐还有很多尚未开拓的空间和发展潜力。With the globalization and the popularity of computer information technology, our life entered a new era of content-based information. Because of the pace of life and change of the human concept, many traditional values and activities are gradually transformed, as well as the business development of Chinese orchestra. Many composers were allocated in response to market demand in the orchestra, applying the creative thinking of ＂music theatre＂ and ＂interactive＂ into their orchestration thinking. The works demonstrate the composer respectively from the time, space, movement, language as well as other non-traditional stage presentation, to show an unprecedented orchestral sound structure and innovative artistic expression. In addition, the works also let people realize that there are many unexplored space and development potential of Chinese orchestra.

关 键 词：音乐剧场 国乐剧场 互动思维 剧场符号 表演分析 

分 类 号：J632.6[艺术—音乐]