《嘎达梅林交响诗》研究
|
摘要
我国女作曲家辛沪光先生的作品——《嘎达梅林交响诗》,以蒙古族民歌《嘎达梅林》的曲调为素材,以草原英雄——嘎达梅林的故事为线索,以中西方的作曲技术为手段,给听者充分展示了一曲草原上的蒙古族往事,使单声部的民间歌曲以多声部的形式重新又回到民间,并被更多的大众接受,这件事本身就值得关注和思考。
本文通过对《嘎达梅林交响诗》创作技法的研究,进一步探讨民族民间音乐的发展途经。主要以四个方面构建全文:
(一)主题的构建与和声的运用。包括二部分,一为变形、“积累”与装饰;二为调式、音阶与和声。此部分侧重于《嘎达梅林交响诗》中各部分主题的构建手法,即以‘变形’、‘积累’与‘装饰’等作曲技术对原民歌进行改编,构建各部主题,使之更适合器乐化的展开。在和声运用部分加进调式与音阶,使之作为和声的辅助部分来讲述《嘎达梅林交响诗》的民族特点或民族风格。
(二)曲式结构的独特性。包括三部分,一为西方奏鸣曲式的构建原则;二为中国传统曲式的思维方式;三为叙事性独特的结构方法。《嘎达梅林交响诗》曲式结构的独特性不单体现在奏鸣曲式的构建原则,同时以叙事性的特点并柔合了中国传统的曲式思维,这点便和西方交响诗有所区别,即更多体现了中国风格。
(三)复调的隐伏、巧用与喻意。各分为隐伏与巧用和喻意二部分。隐伏——主要说明《嘎达梅林交响诗》中,有某些对位声部并非以线性的旋律型态出现,而是以点性的单音存在于和声织体中,将这些点性的单音连起来,才成为对位化的旋律线。巧用——指某些对位声部中对一些特殊节奏的连续运用,目地在于突出体现某种特定的情绪或情感。喻意——指某些对位声部和主题共同承担乐曲的思想内涵的表达。
(四)配器技法的音色变奏。此部分主要讲述相同乐句或乐段在多次出现时,以不同的配器手法组织,在音响色彩上形成音色的变奏,这不单是作曲技法的运用,更多是因交响诗叙事性的独特要求,用以体现不同的情节发展阶段、不同的意境或不同的情感。
这四个部分不单是对交响诗创作技法的研究,还包括对其思想内涵的探讨。
作曲家辛沪光先生工作在内蒙古多年,深爱着这片土地,她的很多作品都具有鲜明的蒙古族风格,她也成为对后来蒙古族音乐创作者中较有影响的当代作曲家之一。作为一名非蒙古族的作曲家,竟能创作出如此有影响的蒙古族风格的作品,此事引起本人浓厚的研究欲望和兴趣,这是笔者将《嘎达梅林交响诗》作为研究课题的原因之一。
笔者本人生活、学习、工作在内蒙古自治区多年,深受蒙古族民间音乐的熏陶,同时有幸跟随一些著名的音乐界前辈学习,聆听他(她)们优秀的作品,其中有些成为本人的喜爱之作,其中包括《嘎达梅林交响诗》,这首作品的各部主题均直接或间接源于蒙古族民歌《嘎达梅林》,同时又是中西方作曲技术相结合的一部成名作,而在风格上又充分体现了蒙古族的音乐特点,这是笔者将《嘎达梅林交响诗》作为研究课题的又一原因。
另外,对《嘎达梅林交响诗》的研究,也为自己以及其它的音乐创作者在民族音乐创作方面提供方向、对作品风格的把握和技术处理做了经验总结,同时也为民族音乐的继承和发展提供借鉴与思考。
《The GaDaMeiLin poem》, written by the female composer Xinhuguang of Our country ,with the melody of Mongolia folk song《GaDaMeiLin》for fodder, with the folk hero——GaDaMeiLin’s stories for clues, take the west and chinese compose technique as means, displaying heareres the past stories on Mongolia race in steppe, make single voice of the folk song return to folks again afreshing by several forms of department, and drive more public accept, this matter is worthy of concerning and thinking.
By studying the creations’s skill of《The GaDaMeiLin poem》,The present text further discussed the developmental way of the race and folks music. The text includes four parts as follows:
The first,Conceiving topic and using harmony. It includes two parts, one is to transform, accumulate and modify; another is for the adjust type, scale and harmony. This part lay particular emphasis in conceiving methods of each part in《the GaDaMeiLin poem》, namely with those compose techniques, such as transform','backlog' and 'decorate', to reprogram the folk song , set up each topic and make it to be more suitable for instrumental music.The adjust type and scale are added into the use of harmony, which make it as the the assistance part of the harmony to relate the race characteristics or style in《the GaDaMeiLin poem》.
The second,The special of the song type structure. Three parts are Included, the first is the creating principle for West song type; the second is the thinking mode of Chinese traditional song type; The third is the special structure method of narrating. The speciality in song type structure of this poem are displayed not only in modifying principle of the ring song type, but also in rubbing up Chinese traditional song type thinking, which characterize narrating. It handed over to ring poem to have differentiation with west then, more bodies were now Sinicism.
The third,Reply to adjust of lie low, skillful using and comparison. Lie low-main elucidation《the Gadameilin poem》medium, is some to voice the department is appear with line melody type not, but with order the single sound of sex to exist to knit a body in the harmony in, connect these point and single sounds, become just to turn of melody line. The aim of skillful using is tos tand out the special emotion. Comparison is to express the thought content of the melody together.
The fourth,The tone color that goes together with the machine skill method changes to play. It mainly relates that different methods of matching musical instrument are organized to form tamber variation while the same sentence appear time for time. It mainly displays different scenarios, artistic conception or emotion.
The four parts not only research the creations skill method of poem, but also investigate it's thought content.
Madam XinHuguang loves deeply this land in Inner Mongolia. Lots of her works have fresh and clear of Mongolia clan style. And she also becomes one of the contemporary composers who has influence more in the clan music creator afterwards and Mongolia.
Writer live, study and work in inner Mongolia for many years. Study,work is subjected to deeply edified by the clan folks music in much more interborough year in Inner Mongolia, being lucky followed behind some famous mavins in the meantime, listenning to their excellent work, . The poem of《the Gadameilin poem》comes from the Mongolia clan folk song《Gadameilin》. Meanwhile, it is also a works of combination with Chinese and West compose technique, and fully embodies the characteristic of Mongolia clan song, this is one reason for the writer to study《The Gadameilin poem》.
Moreover, to research this poem is to apply direction for other music creactors. Though summarizing experiences in technology treating and music style grasping, this work can provide assistance and reason for inheriting and developing of the race music.
本文通过对《嘎达梅林交响诗》创作技法的研究,进一步探讨民族民间音乐的发展途经。主要以四个方面构建全文:
(一)主题的构建与和声的运用。包括二部分,一为变形、“积累”与装饰;二为调式、音阶与和声。此部分侧重于《嘎达梅林交响诗》中各部分主题的构建手法,即以‘变形’、‘积累’与‘装饰’等作曲技术对原民歌进行改编,构建各部主题,使之更适合器乐化的展开。在和声运用部分加进调式与音阶,使之作为和声的辅助部分来讲述《嘎达梅林交响诗》的民族特点或民族风格。
(二)曲式结构的独特性。包括三部分,一为西方奏鸣曲式的构建原则;二为中国传统曲式的思维方式;三为叙事性独特的结构方法。《嘎达梅林交响诗》曲式结构的独特性不单体现在奏鸣曲式的构建原则,同时以叙事性的特点并柔合了中国传统的曲式思维,这点便和西方交响诗有所区别,即更多体现了中国风格。
(三)复调的隐伏、巧用与喻意。各分为隐伏与巧用和喻意二部分。隐伏——主要说明《嘎达梅林交响诗》中,有某些对位声部并非以线性的旋律型态出现,而是以点性的单音存在于和声织体中,将这些点性的单音连起来,才成为对位化的旋律线。巧用——指某些对位声部中对一些特殊节奏的连续运用,目地在于突出体现某种特定的情绪或情感。喻意——指某些对位声部和主题共同承担乐曲的思想内涵的表达。
(四)配器技法的音色变奏。此部分主要讲述相同乐句或乐段在多次出现时,以不同的配器手法组织,在音响色彩上形成音色的变奏,这不单是作曲技法的运用,更多是因交响诗叙事性的独特要求,用以体现不同的情节发展阶段、不同的意境或不同的情感。
这四个部分不单是对交响诗创作技法的研究,还包括对其思想内涵的探讨。
作曲家辛沪光先生工作在内蒙古多年,深爱着这片土地,她的很多作品都具有鲜明的蒙古族风格,她也成为对后来蒙古族音乐创作者中较有影响的当代作曲家之一。作为一名非蒙古族的作曲家,竟能创作出如此有影响的蒙古族风格的作品,此事引起本人浓厚的研究欲望和兴趣,这是笔者将《嘎达梅林交响诗》作为研究课题的原因之一。
笔者本人生活、学习、工作在内蒙古自治区多年,深受蒙古族民间音乐的熏陶,同时有幸跟随一些著名的音乐界前辈学习,聆听他(她)们优秀的作品,其中有些成为本人的喜爱之作,其中包括《嘎达梅林交响诗》,这首作品的各部主题均直接或间接源于蒙古族民歌《嘎达梅林》,同时又是中西方作曲技术相结合的一部成名作,而在风格上又充分体现了蒙古族的音乐特点,这是笔者将《嘎达梅林交响诗》作为研究课题的又一原因。
另外,对《嘎达梅林交响诗》的研究,也为自己以及其它的音乐创作者在民族音乐创作方面提供方向、对作品风格的把握和技术处理做了经验总结,同时也为民族音乐的继承和发展提供借鉴与思考。
《The GaDaMeiLin poem》, written by the female composer Xinhuguang of Our country ,with the melody of Mongolia folk song《GaDaMeiLin》for fodder, with the folk hero——GaDaMeiLin’s stories for clues, take the west and chinese compose technique as means, displaying heareres the past stories on Mongolia race in steppe, make single voice of the folk song return to folks again afreshing by several forms of department, and drive more public accept, this matter is worthy of concerning and thinking.
By studying the creations’s skill of《The GaDaMeiLin poem》,The present text further discussed the developmental way of the race and folks music. The text includes four parts as follows:
The first,Conceiving topic and using harmony. It includes two parts, one is to transform, accumulate and modify; another is for the adjust type, scale and harmony. This part lay particular emphasis in conceiving methods of each part in《the GaDaMeiLin poem》, namely with those compose techniques, such as transform','backlog' and 'decorate', to reprogram the folk song , set up each topic and make it to be more suitable for instrumental music.The adjust type and scale are added into the use of harmony, which make it as the the assistance part of the harmony to relate the race characteristics or style in《the GaDaMeiLin poem》.
The second,The special of the song type structure. Three parts are Included, the first is the creating principle for West song type; the second is the thinking mode of Chinese traditional song type; The third is the special structure method of narrating. The speciality in song type structure of this poem are displayed not only in modifying principle of the ring song type, but also in rubbing up Chinese traditional song type thinking, which characterize narrating. It handed over to ring poem to have differentiation with west then, more bodies were now Sinicism.
The third,Reply to adjust of lie low, skillful using and comparison. Lie low-main elucidation《the Gadameilin poem》medium, is some to voice the department is appear with line melody type not, but with order the single sound of sex to exist to knit a body in the harmony in, connect these point and single sounds, become just to turn of melody line. The aim of skillful using is tos tand out the special emotion. Comparison is to express the thought content of the melody together.
The fourth,The tone color that goes together with the machine skill method changes to play. It mainly relates that different methods of matching musical instrument are organized to form tamber variation while the same sentence appear time for time. It mainly displays different scenarios, artistic conception or emotion.
The four parts not only research the creations skill method of poem, but also investigate it's thought content.
Madam XinHuguang loves deeply this land in Inner Mongolia. Lots of her works have fresh and clear of Mongolia clan style. And she also becomes one of the contemporary composers who has influence more in the clan music creator afterwards and Mongolia.
Writer live, study and work in inner Mongolia for many years. Study,work is subjected to deeply edified by the clan folks music in much more interborough year in Inner Mongolia, being lucky followed behind some famous mavins in the meantime, listenning to their excellent work, . The poem of《the Gadameilin poem》comes from the Mongolia clan folk song《Gadameilin》. Meanwhile, it is also a works of combination with Chinese and West compose technique, and fully embodies the characteristic of Mongolia clan song, this is one reason for the writer to study《The Gadameilin poem》.
Moreover, to research this poem is to apply direction for other music creactors. Though summarizing experiences in technology treating and music style grasping, this work can provide assistance and reason for inheriting and developing of the race music.
引文
[1] 乔建中著《中国经典民歌鉴赏指南》第 36 页。
[2] 王震亚著《中国作曲技法的衍变》第 218 页。
[3] 王震亚著《中国作曲技法的衍变》第 216 页。
[4] 王震亚著《中国作曲技法的衍变》第 219 页。
[5] 李世相《蒙古族长调民歌概论》第 38、39 页。
[6] 李世相《蒙古族长调民歌概论》第 29 页。
[7] 吴祖强著《曲式与作品分析》第 216 页。
[8] 吴祖强著《曲式与作品分析》第 216 页。
[9] 李吉提著《中国音乐结构分析概论》第 240 页。
[10] 吴祖强著《曲式与作品分析》第 272 页。
[11] 吴祖强著《曲式与作品分析》第 266 页。
[12] 王安国著《现代和声与中国作品研究》第 7 页。
[13] 王安国著《现代和声与中国作品研究》第 183 页
1. 《中国音乐结构分析概论》/李吉提著。——北京:中央音乐学院出版社,2004。10
2. 《蒙古族古代音乐舞蹈初探》乌兰杰著——呼和浩特:内蒙古人民出版社,1985。3
3. 《音乐的分析与创作》扬儒怀著——北京:人民音乐出版社,1995。6
4. 《西方音乐与美学问题的文化阐释》于润洋著——上海音乐学院出版社,2005。10
5. 《蒙古族长调民歌概论》李世相著——内蒙古人民出版社,2004。1
6. 《蒙古族音乐史》乌兰杰著—呼和浩特,内蒙古人民出版社,1999。5
7. 《中国作曲技法的衍变》王震亚著——北京:中央音乐学院出版社,2004。12
8. 《论中国现代音乐名家名作》苏夏著——北京:中央音乐学院出版社,2005
9. 《现代和声与中国作品研究》王安国著——重庆:西南师范大学出版社,2004
10. 《歌曲伴奏写作技法》李世相著——内蒙古大学出版社,2006
11. 《作曲基本原理》勋伯格著——上海音乐出版社,2005
12. 《世界名曲欣赏》扬民望著——上海音乐出版社,1987
13. 《管弦乐法基础教程》王宁著著——北京:高等教育出版社,1991
14. 《和声论文集》桑桐著——上海音乐出版社,2002
15. 《中国五声性调式和声理论与方法》樊祖荫著——上海:上海音乐出版社,2003
16. 《蒙古族长调牧歌研究》潮鲁著——呼和浩特,内蒙古文化出版社,2004
17. 《民族调式与和声》赵汝德著——呼和浩特,内蒙古人民出版社,1993
18. 《汉族调式及其和声》黎英海著——上海音乐出版社,2001
19. 《赵宋光文集》赵宋光著——广州,花城出版社,2001
20. 《二十世纪作曲技法分析》姚恒璐著——上海:上海音乐出版社,2000
21. 《申克音乐分析理论概要》于苏贤著——北京:人民音乐出版社,1993
22. 《中国经典民歌鉴赏指南》乔建中著——上海:上海音乐出版社,2002
23. 《曲式与作品分析》吴祖强著——北京:人民音乐出版社,1962
24. 《和声的理论与应用》桑桐著——上海音乐出版社,1997
25. 《西方音乐史》[法]保,郎多尔米著——北京:人民音乐出版社,2003
26. 《赋格曲写作》陈铭志著——上海:上海音乐出版社,1999
27. 《复调音乐写作基础教程》陈铭志著——北京:人民音乐出版社,2000
[2] 王震亚著《中国作曲技法的衍变》第 218 页。
[3] 王震亚著《中国作曲技法的衍变》第 216 页。
[4] 王震亚著《中国作曲技法的衍变》第 219 页。
[5] 李世相《蒙古族长调民歌概论》第 38、39 页。
[6] 李世相《蒙古族长调民歌概论》第 29 页。
[7] 吴祖强著《曲式与作品分析》第 216 页。
[8] 吴祖强著《曲式与作品分析》第 216 页。
[9] 李吉提著《中国音乐结构分析概论》第 240 页。
[10] 吴祖强著《曲式与作品分析》第 272 页。
[11] 吴祖强著《曲式与作品分析》第 266 页。
[12] 王安国著《现代和声与中国作品研究》第 7 页。
[13] 王安国著《现代和声与中国作品研究》第 183 页
1. 《中国音乐结构分析概论》/李吉提著。——北京:中央音乐学院出版社,2004。10
2. 《蒙古族古代音乐舞蹈初探》乌兰杰著——呼和浩特:内蒙古人民出版社,1985。3
3. 《音乐的分析与创作》扬儒怀著——北京:人民音乐出版社,1995。6
4. 《西方音乐与美学问题的文化阐释》于润洋著——上海音乐学院出版社,2005。10
5. 《蒙古族长调民歌概论》李世相著——内蒙古人民出版社,2004。1
6. 《蒙古族音乐史》乌兰杰著—呼和浩特,内蒙古人民出版社,1999。5
7. 《中国作曲技法的衍变》王震亚著——北京:中央音乐学院出版社,2004。12
8. 《论中国现代音乐名家名作》苏夏著——北京:中央音乐学院出版社,2005
9. 《现代和声与中国作品研究》王安国著——重庆:西南师范大学出版社,2004
10. 《歌曲伴奏写作技法》李世相著——内蒙古大学出版社,2006
11. 《作曲基本原理》勋伯格著——上海音乐出版社,2005
12. 《世界名曲欣赏》扬民望著——上海音乐出版社,1987
13. 《管弦乐法基础教程》王宁著著——北京:高等教育出版社,1991
14. 《和声论文集》桑桐著——上海音乐出版社,2002
15. 《中国五声性调式和声理论与方法》樊祖荫著——上海:上海音乐出版社,2003
16. 《蒙古族长调牧歌研究》潮鲁著——呼和浩特,内蒙古文化出版社,2004
17. 《民族调式与和声》赵汝德著——呼和浩特,内蒙古人民出版社,1993
18. 《汉族调式及其和声》黎英海著——上海音乐出版社,2001
19. 《赵宋光文集》赵宋光著——广州,花城出版社,2001
20. 《二十世纪作曲技法分析》姚恒璐著——上海:上海音乐出版社,2000
21. 《申克音乐分析理论概要》于苏贤著——北京:人民音乐出版社,1993
22. 《中国经典民歌鉴赏指南》乔建中著——上海:上海音乐出版社,2002
23. 《曲式与作品分析》吴祖强著——北京:人民音乐出版社,1962
24. 《和声的理论与应用》桑桐著——上海音乐出版社,1997
25. 《西方音乐史》[法]保,郎多尔米著——北京:人民音乐出版社,2003
26. 《赋格曲写作》陈铭志著——上海:上海音乐出版社,1999
27. 《复调音乐写作基础教程》陈铭志著——北京:人民音乐出版社,2000