摘要
The Third Beijing Modern Music Festival took place from May 26 to 31, 2006 under the auspices of the Central Conservatory of Music, the Chinese Musicians’ Association Composition Committee and Theory Committee, and the Beijing Music Radio. The festival was presented by the Central Conservatory of Music in Beijing. Wang Cizhao, President of the Central Conservatory of Music was its producer and the composer Ye Xiaogang was its artistic direc- tor. The festival contains altogether 22 concerts (including 3 com- position master class open concerts, 4 percussion marathon con- certs, and other 15 concerts of various types), 8 seminars (one on composition teaching for undergraduates of lower grades or stu- dents in middle schools attached to music conservatories across the country, one on the primitive ethnic music and the development of modern music, and other 6 ones on composition and composi- tion techniques), and 3 special lectures. With an aim to promote the sustainable development of con- temporary Chinese music and the talents training, the festival fo- cuses on young composers with more efforts to provide the younger generations with stages on which they can display their genius. For this purpose, the seminar on composition teaching for undergraduates of lower grades or students in middle schools at- tached to music conservatories was arranged on the first day of the festival itinerary, and moreover, the festival’s opening concert was dedicated to orchestral works by young composers under 25 years old. In addition, three major composition master class open concerts were also presented in such a way that it became a meeting point for the fury members, students and the audience to make interactions among one another. More than 20 celebrated composers and professors from the U.S., the U.K., Austria and other parts of China were invited to give comments on each of the new composition works by selected students, among whom some already have the capability of working on large - scale works with rich imagination and thus enjoyed high appraisal from the experts. In the concerts of other various types, the works of the middle - aged and young composers in China basically no longer adopted the kind of imitation from the West that was once dominant here in the explorative period in the 1980’s. Rather, they are characterized by varied styles and high intelligence with more concepts inclined towards localization in searching for the cultural roots of the nation.The composers manifested their different powers and ad- vantages by presenting cultural implications and features of Chinese musical instruments and by applying modern com- position skills and integrating multicultural elements. The scope of the festival has been extended with the inclusion of the so- called primitive ethnic music, which has drawn attention of the whole society for the recent years. This has further enriched the variety and diversity of the modern music festival. The seminar on primitive ethnic mu- sic sees the urgency of protecting primitive music cultures, and the concert of primitive music presents to the audience the world’s most authentic cultures in the primitive stage, with a view to exploring the broader scope of existence and greater development approaches for folk music genres. Just as the Chinese musicologist Huang Xiangpeng re- marks, ″Tradition is a river.″And we did see clearly a mov- ing ″river of traditions″at the folk music concert and the Ma Lan’s concert of Huangmei Opera arias. The festival put on three folk music concerts: the Gamelan Ensemble of Bali Is- land, Indonesia, the traditional Nanyin music from China’s Fujian Province, and the folk instrument Sihu from Inner Mongolia Autonomous Region in North China. At the six composition and composition technique semi- nars, the main speakers were, respectively, Alastair Borth- wick (Dean of the Music Department of the University of Hull in the U.K.), Reiko Füting (chair of theory at the Com- position Department of the Manhattan School of Music in the U.S.), Richard Tsang (the International Society for Con- temporary Music), Shi Jie (Austrian Chinese composer), and the couple Zhou Long and Chen Yi (American Chinese composers). The seminars provided for the Chinese com- posers of contemporary music and students of music con- servatories a chance to learn more about contemporary music compositions in the countries of the U.K., the U.S. and Austria, basic information about the ISCM, as well as relevant issues concerning contemporary music in the 21st century. To some extent, the six- day Beijing Modern Music Festival outlined the contemporary music culture in China. With the participation of many music conservatories and colleges from all over the country and the support of the Chinese Musicians’ Association, the Beijing Modern Music Festival has become a major platform for increasing Sino- foreign exchanges on contemporary music and promoting composition, performance and academic researches on contemporary music in China. As to the question whether this platform will sustain in the future so as to promote mu- sic exchanges and develop Chinese contemporary music to a higher level, we believe that the future Beijing Modern Music Festivals will surely give a satisfying answers.
The Third Beijing Modern Music Festival took place from May 26 to 31, 2006 under the auspices of the Central Conservatory of Music, the Chinese Musicians' Association Composition Committee and Theory Committee, and the Beijing Music Radio. The festival was presented by the Central Conservatory of Music in Beijing. Wang Cizhao, President of the Central Conservatory of Music was its producer and the composer Ye Xiaogang was its artistic direc- tor. The festival contains altogether 22 concerts (including 3 com- position master class open concerts, 4 percussion marathon con- certs, and other 15 concerts of various types), 8 seminars (one on composition teaching for undergraduates of lower grades or stu- dents in middle schools attached to music conservatories across the country, one on the primitive ethnic music and the development of modern music, and other 6 ones on composition and composi- tion techniques), and 3 special lectures. With an aim to promote the sustainable development of con- temporary Chinese music and the talents training, the festival fo- cuses on young composers with more efforts to provide the younger generations with stages on which they can display their genius. For this purpose, the seminar on composition teaching for undergraduates of lower grades or students in middle schools at- tached to music conservatories was arranged on the first day of the festival itinerary, and moreover, the festival's opening concert was dedicated to orchestral works by young composers under 25 years old. In addition, three major composition master class open concerts were also presented in such a way that it became a meeting point for the fury members, students and the audience to make interactions among one another. More than 20 celebrated composers and professors from the U.S., the U.K., Austria and other parts of China were invited to give comments on each of the new composition works by selected students, among whom some already have the capability of working on large - scale works with rich imagination and thus enjoyed high appraisal from the experts. In the concerts of other various types, the works of the middle - aged and young composers in China basically no longer adopted the kind of imitation from the West that was once dominant here in the explorative period in the 1980's. Rather, they are characterized by varied styles and high intelligence with more concepts inclined towards localization in searching for the cultural roots of the nation.The composers manifested their different powers and ad- vantages by presenting cultural implications and features of Chinese musical instruments and by applying modern com- position skills and integrating multicultural elements. The scope of the festival has been extended with the inclusion of the so- called primitive ethnic music, which has drawn attention of the whole society for the recent years. This has further enriched the variety and diversity of the modern music festival. The seminar on primitive ethnic mu- sic sees the urgency of protecting primitive music cultures, and the concert of primitive music presents to the audience the world's most authentic cultures in the primitive stage, with a view to exploring the broader scope of existence and greater development approaches for folk music genres. Just as the Chinese musicologist Huang Xiangpeng re- marks, ″Tradition is a river.″And we did see clearly a mov- ing ″river of traditions″at the folk music concert and the Ma Lan's concert of Huangmei Opera arias. The festival put on three folk music concerts: the Gamelan Ensemble of Bali Is- land, Indonesia, the traditional Nanyin music from China's Fujian Province, and the folk instrument Sihu from Inner Mongolia Autonomous Region in North China. At the six composition and composition technique semi- nars, the main speakers were, respectively, Alastair Borth- wick (Dean of the Music Department of the University of Hull in the U.K.), Reiko Füting (chair of theory at the Com- position Department of the Manhattan School of Music in the U.S.), Richard Tsang (the International Society for Con- temporary Music), Shi Jie (Austrian Chinese composer), and the couple Zhou Long and Chen Yi (American Chinese composers). The seminars provided for the Chinese com- posers of contemporary music and students of music con- servatories a chance to learn more about contemporary music compositions in the countries of the U.K., the U.S. and Austria, basic information about the ISCM, as well as relevant issues concerning contemporary music in the 21st century. To some extent, the six- day Beijing Modern Music Festival outlined the contemporary music culture in China. With the participation of many music conservatories and colleges from all over the country and the support of the Chinese Musicians' Association, the Beijing Modern Music Festival has become a major platform for increasing Sino- foreign exchanges on contemporary music and promoting composition, performance and academic researches on contemporary music in China. As to the question whether this platform will sustain in the future so as to promote mu- sic exchanges and develop Chinese contemporary music to a higher level, we believe that the future Beijing Modern Music Festivals will surely give a satisfying answers.
出处
《人民音乐（评论）》
CSSCI
北大核心
2006年第8期7-9,共3页
Peoples Music
