恩约特·施耐德笙协奏曲《易经》创作思维研究  

Research on the Creative Thinking of the Yi-Jing Concerto by Enjot Schneider

作　　者：谢福源[1] 李菁菁 Xie Fuyuan;Li Jingjing

机构地区：[1]湖南师范大学音乐学院

出　　处：《星海音乐学院学报》2023年第3期69-81,54,共14页Journal of Xinghai Conservatory of Music

基　　金：2021年湖南省社科规划课题“音级集合理论的适用性研究”(项目编号:21YBA048)

摘　　要：恩约特·施耐德(Enjott Schneider)是德国当代著名作曲家,其作品内容与体裁涉及范围十分广泛。他对中国的文化和音乐充满了兴趣,创作了多部和中国相关的音乐作品。笙协奏曲《易经》是其中的一部重要代表作,在这部作品中作曲家运用了中国现代音乐创作思维,因此从音响听觉中很难辨认出是西方作曲家所作。文章从音乐主题“形象化”、乐器写作“中国化”与创作技法“融合化”三个方面对这部作品进行全面地分析解读,总结其“模仿中国”的创作思维。Enjott Schneider,a renowned contemporary German composer,has composed a wide range of works spanning diverse contents and genres.Fascinated by Chinese cultural spirit and music,he has composed several music pieces related to China.The Sheng Concerto Yi-Jing is one of his significant representative works.In this piece,Schneider employs modern Chinese compositional techniques,making it acoustically challenging to recognize the work as being composed by a Western musician.This article provides a comprehensive analysis and interpretation of the concerto through three aspects:the"visualization"of musical themes,the"Chinization"of instrumental writing,and the"integration"of compositional techniques.Schneider's compositional thinking of"imitating China"is then summarized.

关 键 词：恩约特·施耐德 笙协奏曲《易经》 创作思维 模仿中国 

分 类 号：J614[艺术—音乐]