论江文也《台湾舞曲》的旋律创作思维

曲靖师范学院学报 ›› 2016, Vol. 35 ›› Issue (4): 106-111.

论江文也《台湾舞曲》的旋律创作思维

曾宪林¹,叶德诚²

1.福建省艺术研究院,福建福州 350001;
2.福建师范大学音乐学院,福建福州 350117

收稿日期:2016-05-16
作者简介:曾宪林,福建省艺术研究院,福建师范大学音乐学院副研究员,博士,主要从事民族音乐学研究。

Jiang Wenye’s Idea of Composing Rhythm in Formosan Dance

Zeng Xianlin¹, Ye Decheng²

1.Fujian Institute of Arts, Fuzhou Fujian 350001;
2. School of Music, Fujian Normal University, Fuzhou Fujian 350117, P. R. China

Received:2016-05-16

摘要/Abstract

摘要： 《台湾舞曲》是江文也的成名之作,于1936年获得柏林第十一屆奧林匹克国际音乐比赛的特別奖,是中国第一部在国际上获奖的交响音乐作品,在中国交响音乐历史上有着独特的历史地位。之前已有很多学者从曲式、调性、和声等不同的角度关注过这部作品,不过,从旋律创作思维的角度探讨江文也的此类作品的成果尚不多见。从作曲家的创作经历入手,进而探析其创作理念、创作行为方式对《台湾舞曲》旋律创作特点的影响,对挖掘出隐藏在他音乐创作背后的旋律创作思维就显得较有意义。

关键词: 作曲理论, 江文也, 《台湾舞曲》, 旋律创作思维

Abstract: Jiang Weye’s Formosan Dance, the first Chinese symphony awarded the internal prize, which was awarded the special prize of the 11^th Berlin Olympic Music Contest in 1936, made him famous since then. The symphony established itself great status in the history of Chinese music. The symphony had been analyzed from the perspective of the musical structure, tonality and concord. The analysis of the symphony from the perspective of its rhythm was few, however. From the composer’s experience, the influence of the composing notion, composing behavior on the symphony was analyzed to know the hiding significance of the symphony.

Key words: composing theory, Jiang Wenye, Formosan Dance, idea of rhythm composition

中图分类号:

J613.4

曾宪林,叶德诚. 论江文也《台湾舞曲》的旋律创作思维[J]. 曲靖师范学院学报, 2016, 35(4): 106-111.

Zeng Xianlin, Ye Decheng. Jiang Wenye’s Idea of Composing Rhythm in Formosan Dance[J]. JOURNAL OF QUJING NORMAL UNIVERSITY, 2016, 35(4): 106-111.