现代主义不应成为学院作曲教学的主流——首届“中国之声”作曲比赛引发的思考

Modernism Should Not Be the Mainstream of Composition Teaching in Conservatories: Thoughts Inspired by the First ″Voice of China″ Composition Competition

作为评委听了首届“中国之声”作曲比赛全部决赛作品，很有感触，当然，这种感触早已不是第一次了……

The First ″Voice of China″ Composition Competition organized by the China Conservatory of Music turned out to be a great success in terms of operation and organization. In general, however, there exist some problems when the two rounds of the competition have completed. One would feel bored after the end of each round as many of the compositions are similar to each other in style and technique, with sound too loud and content far away from reality. This so-called modernist style seems to be the mainstream in composition departments of all the music conservatories, and is widely seen as the top of the ivory tower of academism. I do not oppose to academism; nor do I oppose to modernism. But I am against making modernism the mainstream of conservatory teaching! For many years, I have been studying and paying attention to modernist music, pop music and jazz. In my opinion, each artistic style originates and develops for its own reason and value. I remember in mid-1980's, shortly after I became the dean of the Composition Department of the China Conservatory of Music, Conservatory President Li Sheng, in discussing with me the teaching guidelines, asked me, ″ Do we need in our composition department talents like Liu Wenjin?″ I answered, ″ We need Liu Wenjin, but we need those more than Liu Wenjin.″ ″ What about Du Mingxin?″ he asked again. I said, ″We need Du Mingxin, but we need those more than Du Mingxin.″ ″ What about Tan Dun? I guess no this time,″ he asked again. I said, ″We need Tan Dun, but we still need those more than Tan Dun!″The fact is that both modernist music and traditional music have their own advantages and disadvantages. In terms of reflecting specific feelings, circumstances, mood and mentality, modernist techniques can apply better than traditional techniques. On the other hand, in some areas where traditional techniques are good at expressing, modernist techniques are not in the position to compete. The reason is simple: no single technique is universal. In the present times of diversified cultures, all different schools and styles should adapt to and complement each other instead of excluding each other. There is no absolute mainstream or non-mainstream, and there is no absolute high or low level. Composers should learn, study and absorb all different styles and schools.