融合与创新:谭盾低音提琴协奏曲《狼图腾》中的跨文化对话  

Integration and Innovation:Cross-Cultural Dialogue in Tan Dun's Double Bass Concerto"Wolf Totem"

作　　者： 马薇(译) Batanov Viktor;MA WEI(School of Music Hangzhou Normal University,Hangzhou,Zhejiang 311121)

机构地区：[1]杭州师范大学音乐学院,浙江杭州311121

出　　处：《内蒙古艺术学院学报》2024年第4期57-63,共7页Journal of Inner Mongolia Arts University

摘　　要：创作于2014年的低音提琴协奏曲《狼图腾》,是作曲家谭盾在东西方文化融合的创作理念之下完成的优秀作品。通过对协奏曲中跨文化对话与融合创作思想的阐述,对多元文化背景下《狼图腾》低音提琴声音形象塑造的分析、协奏曲创新形式特征的归纳、跨文化的演奏技术的探源,可以看到作曲家对西方音乐传统的个人态度,以及对现代人本体论问题的哲学理解。谭盾的这种创新风格理念原则是他创作低音提琴协奏曲和表达低音提琴综合音乐形象的关键因素。The double bass concerto"Wolf Totem",composed in 2014,is an excellent work of composer Tan Dun under the concept of cultural integration between the East and the West.Through the elaboration of the crosscultural dialogue and ideas of cultural integration in the concerto,the analysis of the sound image construction in the double bass in"Wolf Totem"under the multicultural background,the generalization of innovation characteristics of the concerto,and the exploration of cross-cultural Double Bass playing techniques,we can see the composer's personal attitude towards Western music traditions and modern people's philosophical understanding of ontology.The principle behind Tan Dun's innovative style is a key factor in his composition of double bass concertos and his expression of the comprehensive musical image of double bass.

关 键 词：谭盾 器乐协奏曲 低音提琴 声音形象 象征 

分 类 号：J0[艺术—艺术理论] J6