张千一《春到边寨》的简约风格与创作特征  

The Simple Style and Creative Features of Zhang Qianyi's"Spring Arrives at the Border Village"

作　　者：周杏 缪琳 Zhou Xing;Miao Lin

机构地区：[1]首都师范大学艺术与美育研究院,北京100048 [2]首都师范大学音乐学院,北京100048

出　　处：《音乐艺术（上海音乐学院学报）》2024年第2期139-148,共10页Art of Music(Journal of the Shanghai Conservatory of Music)

基　　金：2022年度教育部人文社会科学研究青年基金项目“北京中轴线音乐遗产挖掘及其活态传承研究”,项目批准号:22YJC760139;2022年北京市属高校教师队伍建设优秀青年人才支持计划。

摘　　要：《春到边寨》作为张千一交响套曲《我的祖国》的第四乐章,呈现出了立足本土文化语境的简约音乐风格。这种简约在于,从贵州黔东南苗族及云南西盟佤族民歌中,提炼出独具特色的三度音程,使其成为作品的核心音高材料及控制大规模音乐运动的深层结构力;音乐织体反映了不间断流动、互锁的节奏模式及重复、繁衍、变奏为核心的创作逻辑。其主要音响素材的提取与运用、线性主题的多声部空间拓展、主题发展中音响造型和音色调配,都显露出追求简约的创作特征。As the fourth movement of Zhang Qianyi's symphonic suite My Motherland,"Spring Arrives at the Border Village"presents a minimal musical style based on the local cultural context.The composer extracted the unique third interval from the folk songs of the Miao people in Southeast Guizhou and the Wa people in Ximeng of Yunnan.And out of these songs he makes the movement a core pitch material of the work and the deep structural force factor controlling the large-scale music movement,reflecting the creative logic of constructing the music texture with the uninterrupted flow,interlocking rhythm pattern and repetition,reproduction and variation as the core.The extraction and application of the main sound materials,the expansion of the multi-voice space of the linear theme,the sound modeling and the timbre deployment in the theme development,all reveal the creative characteristics of pursuing the minimal style.

关 键 词：《春到边寨》 张千一 简约主义 音色路径 音响造型 

分 类 号：J614.3[艺术—音乐]