从两个视角谈马林巴版《恰空》的美学价值

Analyzing the Aesthetic Value in Marinba’s Version of Chuck from Two Perspectives

以对音乐作品不同版本实践技术、技巧的对比研究为参照,改编(移植)作品的美学价值,是一个不常被深入探讨的命题。本文以巴赫d小调《恰空》的马林巴版本为例,尝试在一个相对开放的概念认知范畴内,从个体与整体的不同视角,以"物"(乐器)、"人"、形式、表达等为切入点,来探讨马林巴版《恰空》的美学价值。同时,也是完成一次易被"否定"甚至"诟病"的尝试,即最大限度暂时"离开"作品的音乐文本,甚至实践(创作—演奏—欣赏)来讨论。原因并不是音乐本身不值得讨论,而是在大部分此类研究仅止于此的现实情况下,另辟蹊径,只突出"价值"这一个重点,而隐去其它,只为让其更能获得关注。

Within the reference frame of the comparative study of practical techniques and skills of different versions of music works,the aesthetic value of adaptation (transplantation) works is a proposition not frequently discussed in depth.Take the Marinba’s version of Chuck in Bach ’ s minor as an example,this paper attempts to explore the aesthetic value of Chuck in Marinba’s version from different perspectives of both individuals and the whole within a relatively open and cognitive conception,starting from " objects"(musical instruments),"people," forms and expressions.At the same time,it is also an attempt to be easily "denied "or even "criticized," that is,to temporarily "leave"the text of the music work as much as possible-even practice (creation-performance-appreciation) to have discussion.The reason is not because music itself is not worth discussing,but because in reality most of these studies have just ended here,therefore a different approach is employed to concentrate on " value," rather than others,in order to make it more recognizable.