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中国音乐传统中的“以韵传神”是中国韵体现在艺术范畴中的核心精髓,其神韵主要表现在旋律的线性美及音色与音势的丰富变化上,常糅合于“意”、“行”“神”之中。中国韵不但影响着中国音乐文化,对欧洲现代音乐的发展也有着重要的作用。19世纪末、20世纪初,欧洲音乐正处于转调体系崩溃的边缘,迫切需要一种新的音乐形式来改变。受东方音韵之灵感影响,法国印象派作曲家德彪西将东西音乐完美地融合起来,用创造性的音乐思维及音乐语言创作出大量的优秀作品。其中《塔》(pagoda)常常被看作德彪西钢琴音乐中具有中国韵气质的典型代表。本文探讨了中国韵对德彪西创作的影响,以剖析《塔》与中国音乐元素之间微妙的契合特征。
The “rhyming spirit” in Chinese music tradition is the core essence of Chinese rhyming body in the category of art. Its charm is mainly manifested in the linear beauty of melody and the rich changes of timbre and sound potential, often blended in the meaning of “ ”, “ Line ”“ God ”. Chinese rhyme not only affects Chinese music culture but also plays an important role in the development of modern European music. In the late 19th and early 20th century, European music was on the verge of the collapse of the transfer system, and a new form of music was urgently needed to change it. Inspired by oriental phonology, Debussy, the French composer of composer, perfectly combines eastern and western music, creating a large number of outstanding works with creative musical thinking and musical language. The “pagoda” is often seen as a typical representative of Debussy’s piano music with Chinese rhyme. This article explores the influence of Chinese rhyme on Debussy’s creation in order to analyze the subtle conformity between “tower” and Chinese musical elements.