交响合唱《江城子》的人文意涵与音乐修辞——兼论“响晕”概念在交响修辞中的美学意义

The Symphonic Chorus Jiang-Cheng-Zi by Chen Qigang:Its Humanistic Connotations and Symphonic Rhetoric Focusing on the Aesthetic Term Xiangyun(Aura of Sonority)

《江城子》是陈其钢根据苏轼的悼亡词《江城子·乙卯正月二十日夜记梦》创作的交响合唱,它通过"合式"(1)的音乐修辞彰显了诗词的人文意涵,又超越了诗词的语言意义。作曲家对诗词意涵的拓展,不止于儿女情长的表达,更融入了生死观的哲学思考,歌唱出超越生死的情感存在与永恒尊贵的生命价值。在这部作品中,显而易见的是现代器乐的精湛技艺,它"孕育"于人声却又"反哺"了人声,使得音乐最古老的抒情达意功用焕发出全新的时代精神。《江城子》中清晰可辨的"氤氲"声态,是中国气论哲学在音乐上的典型表达,由此引发"响晕"作为一个有明确意义与内涵指向的美学概念。

This work by Chen Qigang both manifests the humanistic connotations of the original poem with music rhetoric and transcends its language meaning.The exquisite techniques of modern instrumental music of this piece was born from,yet feedback to,human voice.The clear dense sound in the music is a typical expression of Chinese qi philosophy,leading to an aesthetic concept xiangyun.