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随着1840年的鸦片战争打开了中国一直封锁着的文化大门,西方一些文化重播接踵而来。中国人渐渐的开始去西方专门学习音乐,产生了像萧友梅、黄自、贺绿汀等的一些中国作曲家,让中国的音乐渐渐的出现在世界的舞台上。在蔡元培等人的支持下创立了中国近现代音乐史上的第一所音乐院校——上海国立音专,在萧友梅的领导下产生了像丁善德,冼星海这样的优秀作曲家。近年来,中国化的民族钢琴曲越来越受到国外舞台的热爱,尤其是当梅兰芳把京剧唱出了自己的流派,西方的很多国家才开始渐渐认识了中国的音乐风格。在当今的音乐舞台上,我们不仅出现了朗朗,李云迪这样的优秀演奏家,更出现了像王建中、汪立三、张朝这样的运用现代作曲技法对中国原有的民族音乐进行二度创作成钢琴曲,下面将以张朝的《皮黄》为例,简单的分析一下作品的创作意图。
As the Opium War of 1840 opened the door to culture that China had been blocking, some Western cultural replays came one after the other. Chinese gradually began to go to the West to study music specifically, resulting in some Chinese composers like Xiao Youmei, Huang Zi, He Luting and others, allowing Chinese music to gradually emerge on the world stage. Supported by Cai Yuanpei and others, the first music institution in the history of modern and contemporary Chinese music - the Shanghai National Academy of Music - was founded under the leadership of Xiao Youmei, who produced such outstanding composers as Ding Shande and Xian Xinghai. In recent years, the nationalized Chinese national piano has been increasingly loved by the foreign stage, especially when Mei Lanfang sang his opera from Beijing Opera. Many western countries began to gradually understand the Chinese musical style. In today’s music arena, not only do we see such outstanding performers as Lang Lang and Yundi Li, but also the emergence of such works as Wang Jianzhong, Wang Lisan, and Zhang Chao who used the techniques of modern composition to create the second national musical composition of China into piano music The following will be the “skin yellow” as an example, a simple analysis of the creative intent of the work.