大提琴协奏曲作品的民族化与演奏技巧诠释——以《嘎达梅林》为例

Nationalization of Cello Concerto Works and Interpretation of Playing Techniques:A Case Study of Gadamelin

随着西方的音乐文化与中国本土文化的碰撞,如何将大提琴“洋为中用”,成为很多音乐艺术家努力的方向。在多元化音乐世界格局下,将大提琴民族化是实现其本土化发展的必由之路,也是中国民族传统音乐传承与发扬的必要途径。因此,以优秀的大提琴民族化作品《嘎达梅林》协奏曲为研究对象,深入挖掘蒙古族音乐元素以及民族文化。研究发现,大提琴协奏曲《嘎达梅林》作品以蒙古族特色民歌为题材,在延续蒙古族传统音乐调式与调性的基础上,对蒙古族马头琴的演奏技法进行了模仿并采用了民族化的和声,极大地丰富了乐曲的民族色彩,彰显了民族音乐艺术魅力。

With the collision of music culture in the west and Chinese native culture, how to make the cello“ making foreign things serve China”has become the direction of many music artists. Under the diversified music world pattern, the nationalization of cello is the only way to realize the localization development, and also the necessary way to inherit and carry forward the Chinese national tradition music. Therefore, taking the excellent cello nationalization works Gadamelin concerto as the research object, through the in-depth exploration of Mongolian music elements and national culture. The study found that the cello concerto Gadamelin taking Mongolian characteristics of folk songs as subjects, based on the continuation of the Mongolian traditional music mode and tonality, imitating the playing techniques of Mongolian horse head string instrument and used the harmony of nationalization, have greatly enriched the national colors of music, highlighting the charm of national music art.