从“雅乐而作”到“谋新求变”——“中国动画学派”电影音乐的民族化风格探析

An Analysis on the National Style of Movie Soundtracks by the “Chinese Animation School”

动画电影是一门集电影、文学、绘画、音乐和数字媒体等众多艺术为一体的综合性艺术形式。音乐作为其重要的组成部分,是衡量动画作品成功与否的标准之一。纵观中国动画电影音乐的百年历史,其鲜明的民族化风格贯穿始终,特别是20世纪50年代至80年代中后期“中国动画学派”的民族化音乐风格创造了中国动画电影音乐的辉煌,这一音乐风格通过以五声调式为基础的优美的线性旋律、富有表现力和个性化的民族配器方式以及基于传统故事题材对中国传统音乐风格的借鉴三个方面体现出来。“中国动画学派”在呈现“雅乐而作”的民族化特色的同时,也暴露了自身的一些问题,导致其衰落。进入新世纪,新一代中国动画人励精图治,推出了以《大圣归来》为代表的一批成功作品,其在音乐上表现为对“中国动画学派”的继承与创新,显现出“谋新求变”的精神。

Animated Movies are a comprehensive art form that integrates many arts categories such as film, literature, painting, soundtracks and digital media. As a significant component, soundtracks are one of the important criteria to evaluate whether animated works succeed. Throughout the hundred years history of soundtracks in Chinese animated movies, a national style has persisted, especially from the 1950s to the mid and late 1980s, in which a national soundtrack style gained preeminence. Such successes were displayed in three important aspects: 1) the exceptional beauty of linear melodies based on the pentatonic scale;2) the expressive and personized match of traditional musical instruments;and 3) the learning from traditional Chinese musical styles on the basis of traditional stories and their themes.While the“Chinese animation school”demonstrated the national characteristics of“composition for pleasure”, it also encountered intrinsic difficulties which led to its decline. Entering the new century, a new generation of Chinese animation movie-makers made significant efforts by producing a number successful works, such as The Monkey King: Hero is Back. They demonstrated the inheritance and innovative capacities of the“Chinese Animation School”, particularly in soundtrack production, as well as their spirit of“pursuit for new changes”.