《蜀道难》音色—音响在音乐结构中的设计与组织探赜  

An Exploration of the Design and Organization of Timbre and Sonority in the Musical Structure of Shu Dao Nan

作　　者：林桢邦 Lin Zhenbang

机构地区：[1]北京教育学院音乐系

出　　处：《中国音乐》2024年第6期180-193,共14页Chinese Music

摘　　要：郭文景的《蜀道难》的整体结构呈现出复合性的独特样态,而音色—音响表现与结构之间则是一种共生、偕行、相互影响的关系。作品音色—音响总体布局由多重原则交织而成,以跌宕起伏为首要特征。乐曲通过织体形态、音色选择、音腔元素、结构对位方面的设计,进行主题的音色—音响塑造;通过转折、对置等多样化的配置方案和分层、增长式的安排,处理特定结构功能段落的音色—音响;基于中国特色的结构思维,引入唱腔—帮腔—乐队形式、传统音乐时值布局、汉语语势等中国音乐形式、结构及音声元素,展现音色—音响与多条线索相生相适、时有冲突的进程。The overall structure of Guo Wenjing's Shu Dao Nan presents a distinctive and intricate pattern,where the relationship between timbre,sound expression,and structure is symbiotic,evolving synchronically,and mutually influencing.The orchestration and sound system are shaped by multiple principles,with dynamic fluctuations as a defining feature.The composition's thematic timbres and sounds are shaped through the interplay of texture,timbre selection,phonemic elements,and structural counterpoint.Guo's use of diverse orchestration techniques—such as abrupt transitions,contrasts,layering,and cumulative arrangements—serves to process timbre and sound in sections with specific structural functions.Drawing on Chinese music's structural thinking,this paper examines the integration of Chinese musical forms,structures,and sonic elements,such as singing roles,vocal accompaniment,orchestration formats,duration layouts in traditional music,and Chinese pronunciation trends.These elements showcase the interaction of timbre and sound,which alternates between harmony and conflict,demonstrating the indigenous and personalized characteristics of Guo Wenjing's compositional style.

关 键 词：郭文景 《蜀道难》 音色—音响的设计和组织 中国特色结构思维 唱腔—帮腔—乐队形式 语势 民族化与个性特征 

分 类 号：J605[艺术—音乐]