后音乐会时代的筝乐实践——对筝无伴奏作品《轮回》的探讨

Practice of Zheng Music in the Post-Concert Era——Discussion on the Unaccompanied Work“Samsara”of Zheng Music

后音乐会时代是大批活跃在音乐会舞台的创作者所造就的。在音乐会舞台的成就之后,他们开始选择挑战音乐会的惯例,试探音乐会定义的边界,同时也拒绝投身其他既有的舞台表演形式。在对音乐会形式反叛之时,也并不羞于流露对音乐会形式的依赖。本文通过对筝无伴奏作品《轮回》的分析,阐述了该作品在后音乐会浪潮中,在音乐文本的即兴、拼贴、解构,以及乐器调度、声部动线设计等方面,所表现出的新趋向;着重对音乐的“剧场化”、“即时性”与“平等度”这三个问题进行了深入探讨。

I The post-concert era is created by a large number of creators who are active on the concert stage.After achieved their achievements on the concert stage,they began to choose to challenge the conventions of concerts,to explore the boundaries of the concert's definition,and at the same time refuse to devote themselves to other existing forms of stage performances.When rebelling against the concert format,he was not ashamed to reveal his dependence on the concert format.Through the analysis of the unaccompanied work Samsaraof zheng music,this article elaborated on the improvisation,collage,and deconstruction of musical texts,as well as instrument scheduling,and voice movement design in the post-concert wave.The new trend of music:focused on the three issues of"theatization","immediateness"and"equality"of music.