协奏曲的戏剧内涵与表演问题——对科尔曼协奏曲批评观的延伸性探讨  

Dramatic Connotation and Performance Practice of Concertos—An Extended Discussion Regarding Kerman’s Concerto Criticism

作　　者：孙红杰[1,2] SUN Hongjie

机构地区：[1]上海师范大学音乐学院,上海201615 [2]上海音乐学院

出　　处：《黄钟（武汉音乐学院学报）》2021年第1期86-99,166,167,共16页Huangzhong:Journal of Wuhan Conservatory of Music

基　　金：国家双一流高校与上海高水平地方高校创新团队“音乐学理论研究”(上海音乐学院)项目成果。

摘　　要：科尔曼的《协奏曲谈话》以戏剧眼光审视了协奏曲中独奏与乐队的并置何以限定体裁原则、塑形织体和曲体并预设表现意图和审美情趣。文章考察了科尔曼的协奏曲批评观,从仪式感、角色感、情节线索、戏剧结局四个方面归纳了协奏曲的戏剧性,继而论述了协奏曲创作对表演的深度依赖,协奏曲表演中的历史常规,华彩段的美学意义和演奏建议,古典协奏曲表演中历史维度、现时温度与自我风度的融合,以及独奏家在表演中的角色意识和临场表现。Joseph Kerman’s Concerto Conversations is a dramatic examination of how the juxtaposition of solo and orchestra in a concerto defines stylistic principles,shapes texture and form,and projects intent and aesthetic taste.This article discusses the critical views of Kerman on concerto and offers a summary on the dramatic nature of concerto from four aspects of sense of ritual,sense of being role,plot clues,and dramat‐ic ending.The author also discourses upon several issues with regard to the performance of concertos,in‐cluding the relationships between composing and performing concerto,the historical conventions of con‐certo performing,the aesthetic significance of Cadenza,the multiple dimensions of historical,contempo‐rary,and individual in concerto performing,and the sense of being role which should be kept in mind by the soloist in a concerto.

关 键 词：科尔曼 协奏曲 戏剧性 表演 华彩段 

分 类 号：J609[艺术—音乐] J605