摘要
闵惠芬那种寻根究底、挖地三尺的钻研精神和贴近民间、博采广集的治学作风,给二胡领域开拓了更广阔的天地。她把作品、演奏、听众三者联系起来作为审视艺术情趣和成效的一种价值取向,以达到审美主体和审美客体在某种特定时空的有效融合,从而产生更大的艺术魅力。闵惠芬的二胡艺术声腔化无疑就是在继承传统精致文化的基础上所作的大胆创新,为扩大二胡的表现力开辟了新的领域,也给经典声腔的传播开辟了新的途径,增添了新的魅力。
With a spirit of inquiring into the root of the matter, pressing close to the folk, and pursuing her studies in a way of trying to learn all merits, Ming Huifen pioneered a wider world for the erhu. By relating works, playing and audience to each other as a value-orientation of scanning artistic taste and effect, she purposes achieving a fusion of main taste body and taste object in certain space-time for producing greater artistic charm. A shengqiang-tendency of Ming Huifen s erhu art is no doubt a bold innovation on basis of traditional delicacy culture, which opened a new realm for its expressiveness and a new way for classic shengqiangs transmission and added new charm.
出处
《星海音乐学院学报》
2004年第3期28-31,共4页
Journal of Xinghai Conservatory of Music
关键词
闵惠芬
二胡演奏
艺术思想
风格
Ming Huifen
erhu playing
artistic idea
style
