理论研究的实践运用——重温王安国钢琴曲《芦笙与铜鼓》

Practical Application of Theoretical Research:Revisiting Wang Anguo's Piano Composition Lusheng and Tonggu

王安国先生是我国现当代有影响的音乐理论家和教育家,其青年时代作有多首中国民族风格的钢琴作品。创作于1980年的钢琴独奏曲《芦笙与铜鼓》,既有鲜明的苗族音乐文化印记,又运用现代音乐多调式、极音组合关系和敲击式音响等作曲技法,借以展现中国民族民间音乐丰富的音响色彩。这首作品见证了20世纪80年代初中国钢琴音乐表现技法转型期创作观念的突破。今天重新解读他对西方现代作曲流派、技法与中国民间音调融合的艺术创造,目的在于检视深入的作曲理论研究与鲜活的创作实践之间的密切关联,探究音乐创作实践和对音乐本体的透彻把握,对音乐作品和音乐思潮的理论研究,以及理论家务实学风的养成,皆有积极的促进作用。

Wang Anguo,a distinguished music theorist and educator in modern and contemporary China,has left a significant mark on the musical landscape.During his youth,he composed numerous piano pieces that embodied the distinct characteristics of Chinese ethnic music.Among these compositions,"Lusheng and Tonggu," created in 1980,stands out as a remarkable work.It showcases the essence of Miao ethnic music culture while incorporating modern compositional techniques such as polytonality,polar tonal relationships,and percussive sound effects.Through these elements,the piece unveils the rich and diverse sonic palette of Chinese ethnic folk music.The composition of "Lusheng and Tonggu" represents a breakthrough in the creative concepts of Chinese piano music during the early 1980s,signifying a transition period in performance techniques.Today,reinterpreting this artistic fusion,which merges Western modern composition genres and techniques with Chinese folk tonalities,serves a dual purpose.Firstly,it allows for a thorough examination of the profound relationship between in-depth compositional theory research and vibrant creative practice.Secondly,it facilitates a deeper exploration of the fundamental understanding of musical composition,encompassing its essence,theoretical research on musical works and trends,and the cultivation of a pragmatic scholarly approach.This holistic approach contributes positively to the advancement of the field and the promotion of scholarly engagement.