摘要
朱践耳先生是一位勇于开拓、锐意创新并力求不断超越的作曲家。他一生致力于交响音乐的创作与探索,并善于把西方作曲技法与中国文化思维、语言和音乐风格有机地融合起来,不断地“向着人类精神世界的高度和艺术创造的深度两个极限开掘”①,形成了他自己独特的音乐语言与创作特色。
Mr.Zhu Jian'er has composed,for over half a century,a large number of symphonic works with extensive styles and subjects.Technically,these works are unique in both inheriting traditions and pursuing innovations.His symphonies were completed in very complicated and varied technical means.Traditional and modern techniques have been applied in a creative way in dealing with pitch,structure,rhythm,harmony,polyphony,tone colour and instrumentation.Moreover,certain techniques prevailing in the West in the second half of the 20th century have also been adopted,such as collage,micro-partials and occasional music.However,the composer's application of these techniques did not remain in the process of parroting others,but rather was to form his'individualized'technical language and style unique in itself,by means of fusing the adopted techniques with meanings of music,rhythms and styles as well as its artistic conception,in organic ways.In addition,he has made his utmost efforts to initiate music composition with national identities while benefiting from modern techniques.His opinions and propositions can be found in many periodicals and various major symposia.In early 1980's,when he was over 60,he made several tours to China's southwestern region for collecting folk music from the countryside.His discovery that much of the original ethnic and folk music in the country is surprisingly similar to Western contemporary music has intensifies his belief that music creation'must first and foremost be rooted in China'.During the following dozen years or so,he carried out various experimental practices so that he managed to find the linkage between the Western contemporary composition techniques and the Chinese traditional or folk music,which provides important technical support to his aesthetic theory on'unity method'.In a word,throughout Zhu Jina'er's composition career there has been his probe into technical languages and styles with'national identities'.
出处
《人民音乐(评论)》
CSSCI
北大核心
2005年第1期20-23,64,共5页
Peoples Music