摘要
中国民族管弦乐队是有别于西方交响乐队体制的一种新型乐队模式,在创作规律上几乎无借鉴的范例,尤其是要求作曲家在突出民族性的前提下,展现纯粹中国特色的音响特征,这对任何作曲家来讲都具有开拓性与实践性的工作。回顾以往。民族乐队由齐奏加和声伴奏的写作形式已远远不适用于民族管弦乐的发展了。如果今天仍认为《春江花月夜》《二泉映月》《花好月圆》《喜洋洋》等合奏经典作品就是中国民族管弦乐音乐安身立命的归宿,恐怕是过于保守了。就发展的眼光看。中国民族管弦乐的表现风格应该是丰富多彩的,形式是多元化的。 在过去的50年中,我们将很多精力花费在乐队编制的争鸣,乐器改革的成功与否等方面,但争论到今天有很多具体工作还是落实不下来,为此,中央民族乐团在确立了民族乐队的基本组合外,对乐队的“常规乐器”编制进行重新分类、定位,使各声部在高、中、低三部分的组合中相互合理搭配运用。 现在中央民族乐团在委约作品时,要求作曲家参照乐团提供的编制、乐器音域表及特定的音响资料。同时。要求作曲家们在创作中科学地借鉴西方交响乐队的某些经验和写作手法,将中国乐器的音色搭配和使用给予合理化的分配和运用。 此外,民族乐队需要解决的另一个重要问题是如何培养演奏员 们的集体观念。中央民族?
Chinese music orchestras as a new orchestra form, differ from Western symphony orchestra systems. Music composition for them can hardly benefit from any existing examples, but it requests the composer to present the sound effect with pure Chinese characteristics, which is an explorative and experimental task to every composer. The original composition form for national music orchestras with unison and harmony combined, is now far from meeting the needs of the developing Chinese orchestral music. It would perhaps be too conservative if one still regards such ensemble masterpieces as 'Moonlight over the River in Spring', 'The Moon Reflected in Erquan Pool',' The Flowers Blossoms in the Full Moon' and 'Jubilance', as the final end of Chinese national orchestral music. In the light of its development, the expression styles of Chinese national orchestra music should be varied and its forms should be plural.
For the past 50 years, we have spent so much effort on the dispute over the instrumentation of these orchestras and reforms of instruments, but failed to finalize the concrete work. The Central Chinese Music Orchestra, however, after establishing the basic composites of the orchestra, re-classified and re-defined the instrumentation of the 'regular instruments'in the orchestra, making the different voice parts collocating in harmony by mixing the high, middle and low parts.
Now, when the Central Chinese Music Orchestra commissions any work, it requests the composers to consult the requirements on instrumentation, instrumental compass and specific acoustic information. Meanwhile, it is also necessary for the composers to make use of the experiences and composing techniques in Western symphony orchestras, so as to rationalize colour distribution and exploitation when using Chinese instruments.
Moreover, another major issue that needs a solution is how to build up the collective sense of the performers. The Central Chinese Music Orchestra has cooperated with many outstanding conductors, c
出处
《人民音乐（评论）》
北大核心
2003年第11期23-25,共3页
Peoples Music
