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经过各位竹笛前辈的不断努力和创新,竹笛艺术的发展到现在已经基本趋于融合,竹笛的现在发展要立足与民族优秀的文化之中,保留特有的民族色彩。教育方式的进步对竹笛专业演奏者综合能力的要求提到了新的高度,只有拥有扎实的基本功和音乐理论基础,吸收和借鉴各国优秀的文化,提高个人的艺术修养把自己的价值观和审美观融入我们所演奏的作品才能使作品富有更大的活力。我们作为当代竹笛艺术的接班人,一方面应该吸收和学习“南”“北”两派各自的特色,使自己可以掌握并轻松的运用两派的演奏技巧,另一方面更应该摒弃所谓的“南”“北”派的陈旧观念,突破“南”“北”二派的局限。本人将从竹笛的发展史为依托,选取具有代表性的近代南北派代表人物以及现代新作品的产生这三个方面进行论述。
After the constant efforts and innovations of all the bamboo flute predecessors, the development of the art of bamboo flute has basically converged to the present day. The current development of bamboo flute should base itself on the fine culture of the nation and preserve the unique national colors. The progress of education means that the demand for the comprehensive ability of the bamboo flute professional player refers to a new height. Only with a solid foundation of basic theory and musical theory, it can absorb and learn from the excellent culture of other countries and enhance the artistic accomplishment of the individual. Put his own values and aesthetics Into the work we play in order to make the work full of vitality. As a successor of contemporary bamboo flute art, on the one hand, we should absorb and learn from each of the two characteristics of “South” and “North” so that we can master and easily use the playing skills of the two schools and, on the other hand, We should abandon the outdated notion of the so-called “South” “North” school and break the limitations of the “South” and “North” schools. I will be based on the history of the development of bamboo flute, select the representative representative of modern North and South dynasties as well as the emergence of modern new works of these three aspects to be discussed.