“一韵三叹”话“红灯”(上)——感悟钢琴组曲《红灯记》中的风格魅力与文化质感  

On "The Red Lantern"(I)-The Style Charm and Cultural Sense of Piano Suite "The Story of the Red Lantern"

作　　者：王珈[1] 胡净波[1] 

机构地区：[1]沈阳音乐学院

出　　处：《乐府新声（沈阳音乐学院学报）》2014年第2期71-74,共4页The New Voice of Yue-Fu(Journal of the Shenyang Conservatory of Music)

基　　金：教育部人文社会科学研究规划基金项目<后"样板戏"时期作品与"样板戏"衍生音乐作品系列研究>;项目批准号:11YJA760071

摘　　要：钢琴组曲《红灯记》是在原来由十二首唱段构成的钢琴伴唱《红灯记》基础上,抽出其中的八首,按着新型组曲的结构方式,布局成的一种具有中西合璧文化特征的钢琴组曲,并成功实现了中西音乐文化上的远端对接。在具体的改编方式和钢琴的演奏方法上,既能让多种音乐元素、技法在此得到体现与对接,又能在中与西的音乐语境中形成"你中有我,我中有你"的音乐发展模式。特别是对于传统的"线性思维"和外来的"交响性能"以及跨界式的戏曲音调、民间歌调等方面的借鉴,都有殷承宗自己在改编与创作上的增补与外延,从而使得中国的京剧艺术与外来的钢琴技法在此得到了合情合理的融合与转换。Based on new suite structure .methods, the piano state ＂The Story of Red Lantem＂, excerpted eight from the ongmal twelve arias of piano vocal accompaniment ＂The Story of Red Lantern＂, succeeded in combining the Chinese and Western cultural characteristics. In the concrete adaptation approach and piano playing method, it represents multi-musical elements and techniques, and realizes the devempment of Chinese and Western music combination. Taking such aspects for reference as traditional ＂linear thinking＂, foreign ＂symphonic function＂, traditional Chinese opera tunes and. folk songs, the work contains the composer Ym Chengzong＇ supplementation and extension in arrangement and creation. This composition realizes the reasonable blending and transformation of Chinese Beijing Opera art and foreign piano technique.

关 键 词：样板戏 创作原则 美学意境 京剧行当 文化心理 

分 类 号：J624.1[艺术—音乐]