20世纪中国原创交响性电影音乐的民族性表达  

The Ethnic Expression in the 20th Century Chinese Symphonic Film Music

作　　者：陈舒华[1] 王叶胤[2] CHEN Shu-hua;WANG Ye-yin(College of Arts,Xiamen University,Xiamen 361005,Fujian;Academy of Film,Xiamen University,Xiamen 361005,Fujian)

机构地区：[1]厦门大学艺术学院,福建厦门361005 [2]厦门大学电影学院,福建厦门361005

出　　处：《厦门大学学报（哲学社会科学版）》2023年第5期162-172,共11页Journal of Xiamen University(A Bimonthly for Studies in Arts & Social Sciences)

摘　　要：20世纪中国原创交响性电影音乐的创作,在借鉴经典好莱坞电影音乐表现手法的基础上起步,在如何融入民族性内核,以民族化的音乐元素激发共同体情感认同的思考中走出了一条具有中国特色的电影音乐发展之路。中国原创交响性电影音乐在“摇篮时期”表现出对经典好莱坞电影音乐在形式与技巧方面的回应。进入“十七年”时期,民族性表达的创作手法以融入民族音乐元素为特点,并发展出具有中国艺术精神的音画关系。到“新时期”,民族性表达展现出丰富的艺术个性和创新性,展示出多元化的趋势。这三个时期共同揭示了中国原创交响性电影音乐在审美取向、创作手法和音乐功能定位等艺术理念中,民族性观念的发展与实践成果。The composition of original Chinese symphonic film music in the 20th century commenced with an influence from the classical Hollywood film music techniques.In the thinking of how to integrate the ethnic core and stimulate the emotional identity of national community with diversified music elements,a film music development path with Chinese characteristics has been blazed.During the“Cradle Era”,Chinese original symphonic film music deeply resonated with and responded to the form and techniques of classic Hollywood film music.As it transitioned into the“Seventeen Years”period,techniques emphasizing ethnic expression gradually emerged and developed.By the“New Era”,ethnic expression displayed a rich artistic individuality and innovation,showcasing a diversified trend.These three periods collectively reveal the development and practical results of ethnic concepts in the aesthetic orientation,composition techniques,and functional positioning of Chinese symphonic film music.

关 键 词：中国原创交响性电影音乐 民族性表达 创作手法 

分 类 号：J90-05[艺术—电影电视艺术]