从“文化声音原型”出发的文化表达——论朱践耳的《江雪》与叶小纲的《喜马拉雅之光》

Cultural Expression Out of"Cultural Sound Prototype"--Towards Zhu Jianer's Fishing Snow and Ye Xiaogang's Twilight of the Himalayas

“文化声音原型”是在音乐创作意识或潜意识中饱含历史文化信息的声音(音乐)参照系。朱践耳的《第十交响曲——江雪》与叶小纲的《喜马拉雅之光》这两部作品,虽各具独特的文化内涵,但两者都从“文化声音原型”的角度出发,展开深刻的文化诠释。尽管表达路径各异,但两者在表达文化精髓的思路上殊途同归。其“文化声音原型”的确立,决定了作品体裁、音色、语句形态、空间结构等作为文化表达的音乐形式。这两部作品基于“文化声音原型”所构建的音乐形式,与其最终的文化表达互为因果、辩证统一,呈现出主旨性、风格性、民族性、时代性等方面的异同,同时也彰显了中国当代音乐创作在人文价值立场上的共通性。

"Cultural sound prototype"is a sound(music)reference system that contains historical and cultural information in the consciousness or sub-consciousness of music creation.Zhu Jianer's Symphony No.10-Fishing Snow and Ye Xiaogang's Twilight of the Himalayas have their own characteristics in cultural connotation,but both of them start from"cultural sound archetype,"i.e.from the perspective of a profound cultural interpretation.Although the two ways of expression are different,they reach the same goal in the way of expressing the essence of culture."Cultural sound archetype"determines the genre,timbre,sentence patterns,spatial structure and other musical forms as cultural expression.Both works are based on"cultural sound archetype"The constructed musical form and its final cultural expression are mutually causal and dialectical unity,showing similarities and differences in theme,style,nationality and era,and also highlighting the commonality of Chinese contemporary music creation in the humanistic value position.