现代音乐视域下苏轼词二度创作艺术范式研究——以《水调歌头·明月几时有》为例  

On the Artistic Paradigm of Secondary Creation of Su Shi's Ci Poems from the Perspective of Modern Music—A Case Study of The Tune of Prelude to Water Melody—How Long will the Bright Moon Last

作　　者：蔡建东 CAI Jian-dong(School of Art,Hainan Vocational University,Haikou 570100,China)

机构地区：[1]海南职业技术学院艺术学院,海南海口570100

出　　处：《海南师范大学学报（社会科学版）》2024年第6期111-118,共8页Journal of Hainan Normal University(Social Sciences)

基　　金：海南省哲学社会科学规划重大专项(东坡文化研究)“苏轼音乐思想与实践研究”[HNSK(ZDZX)23-25]。

摘　　要：在现代音乐范畴中,苏轼词《水调歌头·明月几时有》的二度创作具有新颖的艺术特征,既是中国艺术歌曲范式充分的个性表达与丰富的多元呈现,也是中国流行音乐范式即时的流行时效与历时的经典积淀。以江文也、陆在易、朱良镇、周家声等作曲家为代表的作品,更多地反映了对欧洲艺术歌曲技法的中国化应用;以韩夏、王志信、汝艺等作曲家为代表的作品,则更多致力于中国艺术歌曲民族化路径的探索。邓丽君演唱的《但愿人长久》在流行音乐领域大放异彩,其后翻唱、致敬及传承创新的活动蔚然成风,逐步推动了传统文化、流行音乐与现代科技的整体发展。In the field of modern music,the novel artistic features of the second creation of Su Shi's Ci poem The Tune of Prelude to Water Melody—How Long will the Bright Moon Last are the full expression of individuality and rich pluralism of the Chinese art song paradigm,as well as the classic accumulation of the instant popularity and duration of the Chinese pop music paradigm.Works represented by such composers as Jiang Wenye,Lu Zaiyi,Zhu Liangzhen and Zhou Jiasheng mostly reflect the application of European art song techniques in China;while the works represented by composers such as Han Xia,Wang Zhixin and Ruyi are more devoted to the exploration of the nationalization path of Chinese art songs.Teresa Teng's performance of the song Wishing for a Long Life has gained great popularity in the field of pop music,and since then,the activities of cover singing,tribute and inheritance and innovation have become popular,and thus gradually promoted the overall development of traditional culture,pop music,as well as modern science and technology.

关 键 词：《水调歌头·明月几时有》 现代音乐 二度创作 中国艺术歌曲范式 中国流行音乐范式 

分 类 号：J60[艺术—音乐] G03[文化科学]