The Rhyme Without Words by Heng-Lu Yao at Bookstore UAE
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The Rhyme Without Words

The Rhyme Without Words


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About the Book

姚恒璐教授的這套90年代的手稿版作品輯,體現了如同大多數海外華人同樣的海外求學歷史蹤跡--在立足本民族音樂風格的基礎上,引用當代音樂的表現手段與表達方式,創作出有別于西方作曲家的現代音樂作品。在臺灣,也有大批作曲家、藝術家曾在各國留學,從不同的國家學到頗有差異的創作觀念與技法影響下的、風格各異的藝術品味,只不過相比之下,臺灣香港等地的學人在海外留學的歷史更久更長遠一些。

從作品的分類看,這些手稿作品屬於室內樂的範疇,作品涉及到弦樂、木管、銅管、打擊樂的各種編制,內容大多也是涉及到與中國文化相關聯的題材內容,這些作法當然與在英國攻讀作曲專業的碩士、博士學位期間,對於提交的作品在題材體裁方面有著更細緻的要求相關,但是也從另外一個方面反映出作曲家自身豐富的生活經歷與文化底蘊,善於將某些西方作曲技法巧妙而有機地反映在中國題材與表現形式當中。例如,長笛四重奏《小河淌水》,就其音質相同的4把長笛樂器而言,作品的構思類似於絃樂四重奏的想法,在同音色的背景下努力表現出"非同類"色彩的效果,並且以大幅變奏的手法深化了音樂主題。

《第一絃樂四重奏》是作者初入英國,在其碩士學習階段的第一首作品,其中設計了一個13音的對稱五聲性序列。《打擊樂五重奏》則是在作曲家深入學習西方打擊樂器基礎上,以作曲家對於中國民間打擊樂特點的理解,寫出一個對稱性的 "節奏主題",並以此展開全曲,其中偶然織體的"無節拍"與多節拍形成作品結構的主旨。混聲四聲部合唱《秋歌》是為唐代著名詩人李白的《三五七言》而作,正是由於作曲家對這首詩詞的"遞增遞進"詩體結構發生興趣,而選擇其為合唱的藍本,其中長笛、打擊樂的單純、淒涼與合唱渾厚、呼號般的音響相互對比,形成對古典詩詞更加"接地氣"的全新詮釋。

《無詞韻》則是基於中國水墨畫濃墨淺抹的理念,將高低音樂器音色置於一種"出水浮蓮"般的意境,中低音區色彩濃重而高音區的音色空泛飄渺,其中的意識與印象決定了作曲技法的實施。《七重奏》則是對音樂整體結構從簡到繁的全面詮釋,在其中五個樂章中,以種種非調性的創作手段為統一標準,每章都採用了一種不同的技法結構方式:例如,音色的有機關聯和空間轉換、非調性音樂動機的時空交替、音樂織體濃淡啟示下的統一對比關聯、作為音響信號的特殊音色引領下的遞增發展、同一節拍背景下不同節奏主題的伸縮式成比例展開的嘗試,等等。

在今天看來,這套音樂作品輯的出版,有著更多的歷史回顧和文化借鑒方面的意義。從歷史文化發展的歷程觀察,每一位東方作曲家在學習領會了源自西方的作曲技法時,都會自覺或不自覺地將自己熟悉的"母語"音樂語言與外來的技法相結合,從而產生出不斷銜接的創新點。作為藝術形式,音樂創作離開探索和思考,則會成為毫無個性意義的流水帳。反映現實也好、追尋抽象也罷,音樂藝術總會有自己的探索空間,絕不會在世俗的迎合中取得能夠留下歷史足跡的"所謂成果",從這一理念出發,"手稿版"自然會在其獨具的藝術視角中產生其獨特的社會價值。


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Product Details
  • ISBN-13: 9781647846626
  • Publisher: Ehgbooks
  • Publisher Imprint: Ehgbooks
  • Height: 280 mm
  • No of Pages: 286
  • Spine Width: 15 mm
  • Weight: 720 gr
  • ISBN-10: 1647846625
  • Publisher Date: 01 Nov 2016
  • Binding: Paperback
  • Language: Chinese
  • Returnable: N
  • Sub Title: 《無詞韵》姚恒璐室內樂作品選(手稿版A
  • Width: 216 mm


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