摘要
唢呐在各个不同的文化区域,必然要适应当地的艺术土壤,当地的音乐资源以及人们的欣赏习惯,促使唢呐的地方化,同样,唢呐的地方化也是唢呐艺人们对唢呐的再度发明与创造,民间艺术家们为最大限度迎合广大人民群众的需求,不断地发展完善以唢呐为主的民间吹管乐的大家族。这些民间吹管乐器在安徽民间,在唢呐演奏者和人民大众之间已经形成完整的吹奏体系和听觉习惯,在安徽民间唢呐班已经成为不可或缺的吹奏乐器和演奏形式,几种乐器吹奏音乐风格的多样化,相比作曲家创作纯粹的唢呐曲在民间更为人民大众所喜爱。
Suona in different culture areas should adapt to the local art,because local music resources and local peoples’appreciation habits promote the localization of the Suona,which refers to artists’reinvention and recreation of Suona.Folk artists should meet,to the maximum,the demand of the broad masses,constantly developing and perfecting the big family of wind instruments represented by Suona.These folk wind instruments in Anhui have formed a complete playing system by Suona performers,to which public have already get accustomed.Folk Suona in Anhui has become the indispensable wind instrument and performing form.Several wind instruments of the Suona family have diverse music styles;comparatively speaking,the pure folk Suona music gets more favored by the public.
作者
隋景山
Sui Jingshan(Anhui Vocational College of Art,Hefei 230000,China)
出处
《黑河学院学报》
2020年第7期135-138,共4页
Journal of Heihe University
基金
2018年度安徽高校人文社会科学研究(重点)项目“安徽民间吹打乐研究”(SK2018A0838)。
关键词
唢呐
闷子
毛脸筒
呐子
吹管乐器
Suona
Menzi
Maoliantong
Nazi
wind instruments