改编的审美意味——以李焕之改编的《牧童短笛》为例

The Aesthetic Conception of Adaptation-On "Cowboy's Bamboo Flute" Adapted by Li Huanzhi

在音乐作品的生成中,"改编"是一种再创造活动,此中具有创造性、转换性与重构性等诸多特质,由此使得音乐作品的审美意蕴与境界获得巨大的提升;这样,"改编"内在要求创作者,立足于对原作创意的透彻把握,依据改编者的目的,深入改编者的审美视角、审美价值与审美情趣,如此,在原作之基础上,对原作进行突破、拓展,从而创作一种新颖的、不同于原作的作品,这本质上是一种"视界融合"与"审美重叠"。本文以李焕之改编的《牧童短笛》为个案,探索作曲家李焕之如何继承原作,又如何突破原作、提升原作,达成审美的超越,由此彰显出改编的一般规律。

Adaptation of a music composition is a creative activity, which possesses such fea- tures as creation, transformation and reconstruction. It can greatly promote the aes- thetic state and conception of a music work. Therefore, it requires that a creator dep- ends on his own purpose and uses his own aesthetic perspective, value and taste to thoroughly grasp the original ideas. An adapter needs to make a breakthrough and expansion from the original work and creates a novel and totally fresh composition. In essence, it is a ＇Tusion of horizons＂ and ＂aesthetic overlap＂. Based on Li Huan- zhi＇s ＂Cowboy＇s Bamboo Flute＂, this paper explores how the composer inherited, broke through and promoted the original work to reach an aesthetic transcendence so as to highlight the general rules of adaptation.