当代民族器乐旋律创作探微——以王建民二胡狂想曲为例  

On Contemporary Ethnic Instrumental Melody Creation with Wang Jianmin’s Erhu Rhapsody as an Example

作　　者：毕琪琦 李传兴 BI Qiqi;LI Chuanxing(Department of Public Physical Education and Art,Hefei University,Hefei 230601;School of Music,Anhui University of Arts,Hefei 241000,China)

机构地区：[1]合肥大学公共体育与艺术教学部,合肥230601 [2]安徽艺术学院音乐学院,合肥241000

出　　处：《合肥学院学报（综合版）》2024年第1期80-87,共8页Journal of Hefei University：Comprehensive ED

摘　　要：自1998年7月至今召开过的三届旋律学学术研讨会以及中国音乐理论话语体系一系列学术研讨会,一致认为:旋律学是中国音乐理论体系建设中的重要学科之一,在音乐创作专业教学和创作实践中应该将旋律学作为和声、复调、曲式和配器“作曲四大件”之外的第五大件。以王建民创作的五首《狂想曲》为例,聚焦旋律线条、调性调式转换,节奏节拍等各种要素,分析其旋律创作中如何协调传承、发展与创新的关系。为当代民族器乐创作提供借鉴与帮助;为不断推动中华优秀传统文化创造性转化、创新发展发挥重要作用。The three academic conferences on melody and China’s music theoretical discourse system held since July,1998 have unanimously agreed that melody is one of the important disciplines in the construction of China’s music theoretical system,and that in the professional teaching and creative practice of musical composition,melody should be regarded as the fifth major thing in addition to the“four major pieces of composition”of harmony,polyphony,musical form and orchestration.This arti⁃cle takes five rhapsodies created by Wang Jianmin as an example,focusing on various elements such as melody lines,tonal mode conversion,rhythm and beat,and analyzing how to coordinate the relation⁃ship between inheritance,development,and innovation in their melody creation.It is hoped to provide reference and assistance for contemporary ethnic instrumental music creation so as to play an impor⁃tant role in continuously promoting the creative transformation and innovative development of excel⁃lent traditional Chinese culture.

关 键 词：核心音调 旋宫转调 旋律形态 

分 类 号：J614.6[艺术—音乐]