当代民族器乐艺术发展的“别现代”阐释——以第五代作曲家群体民乐创作为例  

Bie-Modern Interpretation of the Development of National Music Art in Contemporary:Taking the Creation of Folk Music in the Fifth Generation of Composers as an Example

作　　者：王艳 WANG Yan(Conservatory of Music,Yangzhou University,Yangzhou,Jiangsu 225009)

机构地区：[1]扬州大学音乐学院,江苏扬州225009

出　　处：《艺术百家》2020年第6期117-121,137,共6页Hundred Schools In Arts

基　　金：2020年度江苏省社会科学基金项目“中国传统戏曲声乐艺术对当代民族声乐发展的影响研究”(项目编号:20YSD007)阶段性成果之一。

摘　　要：自上世纪80年代以来,在改革开放与解放思想浪潮的推动下,当代民族器乐艺术发展呈现出多元化的发展态势。以谭盾为代表的第五代作曲家尝试着对中国传统音乐进行解构与重组,强调音色、时空、听觉与视觉的处理,广泛运用拼贴、对位等现代作曲技术手法,在民族音乐界掀起了一股新的创作热潮。与此不同的是,以著名作曲家王西麟为代表的作曲家群体却对这种创作提出了强烈的质疑,认为这种对技术的强调和对社会历史的忽视是应当被反思的。两个创作群体集中反映在音乐观念、创作理念.上的冲突实际上就是当代民族器乐作品创作的别样阐释,即前现代、现代与后现代创作理念、技术上的交织糅合,同时也是当代中国民族音乐艺术发展的一个时代缩影。Since the 1980s,under the impetus of reform,opening up,and emancipating the mind,the development of contemporary national instrumental music has presented a diversified development trend. The fifth-generation composer,represented by Tan Dun,tried to deconstruct and reorganize traditional Chinese music,emphasizing the processing of timbre,time and space,hearing and vision,and widely used modern composing techniques such as collage and alignment to set off in the national music industry,which brings about a new creative boom. In contrast,the composer group represented by the famous composer"王西鹿"has strongly questioned this creation,which is considered to be a "deviant"to Chinese music. The conflict between the two creative groups reflected in the concept of music and the concept of creation is actually a different interpretation of the creation of contemporary national instrumental music,that is,the pre-modern,modern and post-modern creative ideas,technical intertwined,and also a reflection of the contemporary Chinese development of music art.

关 键 词：“别现代” 第五代作曲家 民族器乐作品 创作 

分 类 号：J60[艺术—音乐]