摘要
谭盾、刘敦南以湖南嘉禾伴嫁歌《娥眉豆》为素材,创作钢琴作品《逗》和《蛾眉豆》。在音乐层面,谭盾《逗》用半音关系借喻中立音的创作手法,模拟湖南民歌的特性音响色彩;刘敦南《蛾眉豆》则使用“有调性的十二音聚集”创作手法,以现代化的音乐语言诠释这首民歌。在文化层面,两首作品风格各异,但都保留了嘉禾伴嫁歌的审美内核。民歌改编的钢琴作品连接着过去与现在、情感与技术、中国与世界。
Tan Dun and Liu Dunnan used Jiahe marriage song called E Mei Dou,as the creative material for their piano works Staccato Beans and O Mei Bean.In music,Staccato Beans uses the semitone on the piano to simulate the Hunan folk music.O Mei Bean uses“Tonal Twelve-tone Aggregate”to interpret this folk song in a modern musical language.In terms of cultural connotation,the two works have different styles,but they both retain the aesthetic core of Jiahe marriage song.The piano works adapted from folk songs connect the past and present,emotion and technolo⁃gy,China and the world.
出处
《浙江艺术职业学院学报》
2022年第2期131-138,共8页
Journal of Zhejiang Vocational Academy of Art
