西方作曲技法在当代花鼓音乐中的多维化融合与创新  

Multi-dimensional Application and Development of Western Composition Technology in Hua Gu music in China

作　　者：康红许 KANG Hongxu(School of Music and Dance,Fuyang Normal University,Fuyang 236041,China)

机构地区：[1]阜阳师范大学音乐舞蹈学院,安徽阜阳236041

出　　处：《安阳工学院学报》2022年第3期111-115,共5页Journal of Anyang Institute of Technology

基　　金：安徽省阜阳市2021年社科规划项目“阜阳淮词艺术的当代传承及创新研究”(FSK2020005);安徽省2021年高等学校省级质量工程继续教育教学改革项目“服务高质量发展的高等学历继续教育专业建设(人才培养方案)研究特色项目”(2021jxjy051);阜阳师范大学2021年度青年人才重点项目“安徽中小学民族乐团的当代构建与发展研究——以阜南县玉泉学校民族管弦乐团为例”(rcxm202114)。

摘　　要：我国当代民族音乐在西方音乐文化影响下,创作思维发生着全新的变化,民族乐派的创作思维与西方作曲技法的融合已成为趋势。文章以3首含有花鼓音乐素材的钢琴作品为例,探索了我国当代民族乐派在借鉴、吸收西方作曲技术基础上,在传统艺术思维中融入西方艺术思维的创作实践中,如何实现我国新民族音乐的多维化创新。Under the influence of western music culture, the creative thinking of contemporary Chinese traditional music is undergoing new changes, and the integration of the creative thinking of national music school and western composition techniques has become an inevitable trend. This paper takes three piano works containing Hua Gu music materials as examples. It aims at exploring the multi-dimensional application and development of western traditional composition techniques in China’s new folk music, and tries to inject vitality into the contemporary inheritance and development of folk music through analyzing the contemporary folk music school, drawing on and absorbing the western traditional composition technology.

关 键 词：主题旋律 作曲技法 花鼓 

分 类 号：J614.5[艺术—音乐]