试析江文也钢琴套曲《乡土节令诗》的创作特色
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摘要
江文也是我国近现代音乐史上一位特殊的音乐家,这种特殊性与他的人生历程和生活道路是密不可分的。江文也幼年,少年时期在厦门成长;求学,成名于日本;而后又回到祖国直至去世。这种经历使得他的作品在风格上具有多元性的特征,也融合了台湾,日本和中国大陆的精神气质。
江文也是我国最早运用西方现代作曲技法创作中国音乐风格的作曲家之一,早在30年代就在国际乐坛上获得了声誉。他的作品涵盖面广,涉及了管弦乐,钢琴,声乐,室内乐等各种领域。钢琴创作是江文也创作的重要组成部分,目前已知的钢琴作品有三十多部,占他作品总数的四分之一。
钢琴套曲《乡土节令诗》是江文也后期音乐创作的重要代表作之一,本文通过对钢琴套曲《乡土节令诗》的创作技法的分析,总结出这部作品在中国民族风格与西方作曲技法结合时体现出来的风格手法的特点;同时通过对这部作品与江文也前期的同类作品《五首素描》等的比较研究,总结出江文也在创作后期作品的中国化风格的深入的特点,同时也充分说明了《乡土节令诗》在江文也音乐创作中的历史意义和现实价值。
Jiang Wenye is one of the most distinctive musician in the contemporary music history. This kind of distinctiveness owes much to his life experiences. Jiang Wenye stayed in Xiamen for all his childhood and adolescent years. After that he set his foot to Japan and became famous there. He then returned to his beloved motherland and lived there until his death. It was his life experiences that added to his works various elements of Taiwan, Japan and the Mainland of China and made them rich in style. Jiang Wenye is among the musicians who were the earliest to compose Chinese style music applying the modern western methods of composing. Dating back to the 1930's he got a high reputation in the international music field. His works have a wide coverage, involving strings, piano, vocals and chamber music, etc. Among them, his piano composition is the most important part in his musical works. So far, 30 pieces of his works are known to us, which takes up one quarter of his total works.
The piano divertimento "Xiangtu Jieling Shi (poems of rural seasonal phenomena)" was one of the most important representatives of his later musical creations. This thesis has come up with ths stylistic features embodied by combining the Chinese national styles with Western composing techniques. At the same time, by comparing with Jiang Wenye's former homogeneous works "Five pieces of sketch" , this thesis has drawn the conclusion that Chinese style was rooted more deeply in his later works as well as that the "Xiangtu Jieling Shi(poems of rural seasonal phenomena)" has historically and realistically played an important role in his entire musical creation.
江文也是我国最早运用西方现代作曲技法创作中国音乐风格的作曲家之一,早在30年代就在国际乐坛上获得了声誉。他的作品涵盖面广,涉及了管弦乐,钢琴,声乐,室内乐等各种领域。钢琴创作是江文也创作的重要组成部分,目前已知的钢琴作品有三十多部,占他作品总数的四分之一。
钢琴套曲《乡土节令诗》是江文也后期音乐创作的重要代表作之一,本文通过对钢琴套曲《乡土节令诗》的创作技法的分析,总结出这部作品在中国民族风格与西方作曲技法结合时体现出来的风格手法的特点;同时通过对这部作品与江文也前期的同类作品《五首素描》等的比较研究,总结出江文也在创作后期作品的中国化风格的深入的特点,同时也充分说明了《乡土节令诗》在江文也音乐创作中的历史意义和现实价值。
Jiang Wenye is one of the most distinctive musician in the contemporary music history. This kind of distinctiveness owes much to his life experiences. Jiang Wenye stayed in Xiamen for all his childhood and adolescent years. After that he set his foot to Japan and became famous there. He then returned to his beloved motherland and lived there until his death. It was his life experiences that added to his works various elements of Taiwan, Japan and the Mainland of China and made them rich in style. Jiang Wenye is among the musicians who were the earliest to compose Chinese style music applying the modern western methods of composing. Dating back to the 1930's he got a high reputation in the international music field. His works have a wide coverage, involving strings, piano, vocals and chamber music, etc. Among them, his piano composition is the most important part in his musical works. So far, 30 pieces of his works are known to us, which takes up one quarter of his total works.
The piano divertimento "Xiangtu Jieling Shi (poems of rural seasonal phenomena)" was one of the most important representatives of his later musical creations. This thesis has come up with ths stylistic features embodied by combining the Chinese national styles with Western composing techniques. At the same time, by comparing with Jiang Wenye's former homogeneous works "Five pieces of sketch" , this thesis has drawn the conclusion that Chinese style was rooted more deeply in his later works as well as that the "Xiangtu Jieling Shi(poems of rural seasonal phenomena)" has historically and realistically played an important role in his entire musical creation.
引文
[1]江文也.《写于圣咏集》(第一卷)完成后》,《圣咏作曲集》(第一卷),北京方济堂圣经学会出版,1947年9月。
[1]吴韵真.《先夫江文也》,《江文也纪念研讨会论文集》,台北县立文化中心出版,1992年5月。
[1]梁茂春.《江文也音乐创作发展轨迹》,《中央音乐学院学报》1984年第3期。
[1]赵鹏.《论江文也的钢琴创作》:[硕士学位论文].西北师范大学,2002年5月。
[1]江小韵.江文也钢琴作品集.中央音乐学院出版社,2006年第一版。
[2]汪毓和.中国近现代音乐史.人民音乐出版社,2002年(第二次修订版)。
[3]张己任.江文也纪念研讨会论文集,台北县立文化中心。
[1]梁茂春.江文也音乐创作发展轨迹.中央音乐学院学报,1984年第3期。
[2]俞玉滋.江文也传略,中央音乐学院学报.1993年第3期。
[3]王震亚.作曲家江文也.人民音乐,1984年第5期。
[4]徐士家.江文也教授和他的音乐创作.中央音乐学院学报,1983年第1期。
[5]宋学军.江文也钢琴套曲《乡土节令诗》的艺术特色.中央音乐学院学报,1990年第3期。
[6]王安国.论巴托克调式体系的综合性与多重性--民间音乐与近现代作曲技术相结合的一种艺术创造。
[7]修海林.江文也的音乐思想.音乐艺术,1991年第2期。
[8]李诗原.江文也音乐中的现代技法因素。
[1]廖红宇.中日传统音乐在江文也钢琴音乐创作中的运用:[硕士学位论文].福建师范大学,2003年4月。
[2]赵鹏.论江文也的钢琴创作:[硕士学位论文].西北师范大学,2002年5月。
[3]雷美琴.江文也创作风格的延续和中国化风格的探索与发展--江文也钢琴小品《北京万华集》与前后同类作品的比较研究.[硕士学位论文].首都师范大学,2002年5月。
[1]吴韵真.《先夫江文也》,《江文也纪念研讨会论文集》,台北县立文化中心出版,1992年5月。
[1]梁茂春.《江文也音乐创作发展轨迹》,《中央音乐学院学报》1984年第3期。
[1]赵鹏.《论江文也的钢琴创作》:[硕士学位论文].西北师范大学,2002年5月。
[1]江小韵.江文也钢琴作品集.中央音乐学院出版社,2006年第一版。
[2]汪毓和.中国近现代音乐史.人民音乐出版社,2002年(第二次修订版)。
[3]张己任.江文也纪念研讨会论文集,台北县立文化中心。
[1]梁茂春.江文也音乐创作发展轨迹.中央音乐学院学报,1984年第3期。
[2]俞玉滋.江文也传略,中央音乐学院学报.1993年第3期。
[3]王震亚.作曲家江文也.人民音乐,1984年第5期。
[4]徐士家.江文也教授和他的音乐创作.中央音乐学院学报,1983年第1期。
[5]宋学军.江文也钢琴套曲《乡土节令诗》的艺术特色.中央音乐学院学报,1990年第3期。
[6]王安国.论巴托克调式体系的综合性与多重性--民间音乐与近现代作曲技术相结合的一种艺术创造。
[7]修海林.江文也的音乐思想.音乐艺术,1991年第2期。
[8]李诗原.江文也音乐中的现代技法因素。
[1]廖红宇.中日传统音乐在江文也钢琴音乐创作中的运用:[硕士学位论文].福建师范大学,2003年4月。
[2]赵鹏.论江文也的钢琴创作:[硕士学位论文].西北师范大学,2002年5月。
[3]雷美琴.江文也创作风格的延续和中国化风格的探索与发展--江文也钢琴小品《北京万华集》与前后同类作品的比较研究.[硕士学位论文].首都师范大学,2002年5月。