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20世纪后半叶,是中国笛乐艺术的一个高峰。这个高峰的出现不是偶然的。此前,作为中国竹类乐器的代表,笛在其两千余年的伴奏、合奏实践中,“穷妙极巧。旷以日月,然后成器”,建立起一个蕴含丰富、类别多样的乐器家族;而自50年代始,受到社会环境剧变和姊妹器乐艺术等因素的强烈影响,这件乐器又借助自己的“天姿”和千年积累,自立门户、脱颖而出,成为最具代表性的中国器乐独奏艺术门类之一。 这个高峰形成最根本的因素是创造这些乐器、技艺和派别的演奏家,即站在这一艺术颠峰上几位开宗立派的大师:北派创始人冯子存、刘管乐和南派创始人赵松庭、陆春龄。四位笛乐巨擎中,惟一兼顾演奏、编创、教育、理论研究四大领域,并做到门门精到,样样皆优者,便是赵松庭先生。
The second half of the twentieth century, is a peak of Chinese flute music. The emergence of this peak is not accidental. Earlier, as representative of Chinese bamboo musical instruments, flute in its more than two thousand years of accompaniment, ensemble practice, “poor wonderful wonderful. Kuang to the sun and the moon, and then into the device,” to establish a rich, diverse musical instruments Family; and since the beginning of the 1950s, subject to dramatic changes in the social environment and sister instrumental music and other factors, this instrument again with their “Tianzi” and the Millennium accumulation, self-reliance, come to the fore, as the most representative Chinese instrumental music One of the solo art categories. The most fundamental factor in the formation of this peak is the performer of these instruments, arts and factions: the founders of the founding Founder, Feng Zicun, Liu Bangle and the founder of the Southern School Zhao Songting, Lu Chunling. Four flute giant, the only two to play, editing, education, theoretical research in four major areas, and to achieve the door meticulous, all gifted, is Mr. Zhao Songting.