清灵妙音 和雅音画——钢琴曲《乐舞图·妙音鸟》音画融合表达及内涵研究  

The Fusion of Sound and Imagery in the Piano Composition Music and Dance Picture:Kalavinka

作　　者：龚璇 Gong Xuan

机构地区：[1]浙江音乐学院钢琴系,杭州310024

出　　处：《音乐文化研究》2024年第4期89-99,共11页Music Culture Studies

基　　金：浙江音乐学院一般科研项目“钢琴新作品《乐舞图·妙音鸟》音乐分析和演奏技术研究”(项目编号:2022KL005)研究成果。

摘　　要：钢琴独奏曲《乐舞图·妙音鸟》创作于2019年,庞莉从敦煌壁画中妙音鸟即迦陵频伽,获得灵感而创作该作品。以妙音鸟的优美舞姿和画面场景为音乐素材,表达了作曲家对佛国世界中妙音鸟的音声想象与描绘。《乐舞图·妙音鸟》基于三幅敦煌壁画“反弹琵琶”“祭祀舞”“飞天吹箫”,以音响与画面高度契合的语汇表现,并运用现代技法模仿敦煌艺术古韵,传递敦煌艺术审美内涵。文章基于对该作品的首演经历,分析其创作构思、音乐材料以及作品音画融合的具体表现方式,阐述作品中西融合的创作技法、音响空间层次的构建、多元化的音乐语汇以及乐舞图音画交融的艺术内涵。The solo piano piece Music and Dance Picture:Kalavinka,composed in 2019 by Pang Li.was inspired by the depiction of the kalavinka in Dunhuang murals.Drawing on the kalavinka’s graceful dance and vivid visual elements,the piece expresses the composer’s imaginative interpretation of the kalavinka’s heavenly sounds in a Buddhist paradise.The composition integrates imagery from three Dunhuang murals-Reverse-Playing the Pipa.Ritual Dance,and Flying Apsaras Playing Flutes-into a musical narrative closely aligned with the visual elements.Modern techniques are employed to emulate the ancient charm of Dunhuang art,conveying its aesthetic essence.Based on the premiere performance,this article analyses its compositional concepts,musical material,and the specific strategies used to merge sound and imagery.It explores the fusion of Eastern and Western techniques,the construction of spatial soundscapes,the use of diverse musical vocabularies,and the artistic significance of the integration of music and image.

关 键 词：敦煌壁画 妙音鸟 音画融合 和雅之声 艺术内涵 

分 类 号：J674.41[艺术—音乐]