【摘要】：20世紀(jì)60年代,我國(guó)琵琶音樂(lè)作品的創(chuàng)作進(jìn)入了一個(gè)鼎盛發(fā)展時(shí)期,作曲家們積極吸收現(xiàn)代作曲的創(chuàng)作手法,創(chuàng)作出了一批既有傳統(tǒng)音樂(lè)文化內(nèi)涵又富有現(xiàn)代音樂(lè)語(yǔ)言特色的優(yōu)秀作品。王惠然先生創(chuàng)作的《彝族舞曲》就是這一時(shí)期的代表作。作品以民間音樂(lè)素材為基礎(chǔ)、積極融合傳統(tǒng)和現(xiàn)代創(chuàng)作手法,在作品結(jié)構(gòu)和演奏技法等方面積極的探索與創(chuàng)新,本文將從創(chuàng)作背景、藝術(shù)表現(xiàn)及演奏技法上對(duì)樂(lè)曲進(jìn)行論述。
[Abstract]:In the 1960s, the creation of Chinese pipa music works entered a period of flourishing development, and composers actively absorbed the creative techniques of modern composition. Has created a batch of outstanding works which both traditional music culture connotation and the modern music language characteristic. The Yi Dance by Mr. Wang Huiran is the representative work of this period. The works are based on folk music materials, actively integrate traditional and modern creative techniques, and actively explore and innovate in the structure of works and performance techniques. This article will discuss the music from the background of creation, artistic expression and playing techniques.
【作者單位】： 南京曉莊學(xué)院音樂(lè)學(xué)院;
【分類號(hào)】：J632.33

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1 吳柔;《彝族舞曲》[J];人民音樂(lè);1963年12期

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本文編號(hào)：2340028