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1960年以后,随着党的文艺政策的改进和歌曲创作的新变化,大合唱创作也出现了一个转机。这一时期作品的数量虽不如前一阶段,然而在质量上却有所提高。1960年朱践耳完成了交响乐——大合唱《英雄的诗篇》(毛泽东词),作曲家选取毛泽东的五篇与“长征”有关的诗词,谱写了五个乐章构成的交响大合唱,乐章顺序为:《六盘山》、《井冈山》、《大柏地》、《十六字令三首》和《长征》。正如作品名称“交响乐——大合唱”所揭示的,作曲家尝试采用交响乐和大合唱并重的艺术形式,并在声乐创作部分也采用了交响性的主题展开手法,尽力发挥音乐(声乐与乐队)在气氛煊染和心理刻画等方面的作用。作曲家以一个代表红军形象的主导主
After 1960, with the improvement of the Party’s art policy and new changes in songwriting, the creation of a chorus has also taken a turn for the better. Although the number of works in this period was not as good as the previous one, the quality was improved. In 1960, Zhu Jian’er completed the symphony-chorus “The Psalms of the Heroes” (Mao Zedong). The composer selected five poems about Mao Zedong and the “Long March”, composing the symphonic chorus composed of five movements For: “Liupan Mountain”, “Jinggangshan”, “big cypress”, “sixteen words and three” and “long march.” As the name of the work “Symphony - Chorus” reveals, composers try to use both symphony and chorus together. In the vocal part of the composition, they also use symphonic themes to develop their musical (vocal and orchestra) In the atmosphere and psychological characterization and other aspects of the role of painting. Composer with a representative of the Red Army image of the Lord