刘天华对我国民族音乐发展的贡献
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摘要
近年来国家越来越重视民间传统文化的保护,在非物质文化遗产保护项目中,中国传统音乐是一项不可或缺的重要内容。所谓的“保护”不仅仅指的保存,传承就是最好的保护。在中国历史上,传统音乐的一次重要的转折就是五四新文化运动引起的。中国音乐在西方音乐文化的强势攻击下,经历了碰撞、交流、融合、变化、发展这样一个漫长的过程。新音乐的提出无非就是通过西洋音乐的引进,从而被传统音乐吸收和融合。刘天华在传统音乐改革方面,无疑成为历史中的佼佼者。
刘天华先生作为一位杰出的民族音乐家、教育家,一生以民族音乐改革为志向,矢志不渝地进行民族音乐的普及与革新工作,除了对二胡艺术做出了历史性的贡献外,对我国近现代琵琶艺术的发展也同样做出了卓越的成绩。他精通多种民族乐器和西洋乐器的演奏,掌握民族乐器的创作规律,把西洋音乐的演奏技法融汇其创作中,他的作品既具有传统音乐特有的民族韵味,又有西洋音乐独特新颖的表现方式。他对二胡、琵琶等民族乐器进行改良,对传统的记谱法进行革新,更是有利于传统音乐的传承和发展。他力图通过自身的创作与奋斗去改变当时中国音乐的面貌,创造出“我们这一代的艺术”。
琵琶被誉为“弹拨乐之王”,有丰富的演奏技巧和表现力。刘天华对其进行改良,吸取各种乐器先进的演奏方法运用到作品创作中,20世纪20年代先后创作了《歌舞引》《改进操》《虚籁》3首琵琶曲和15首练习曲,使琵琶艺术在新的历史时期有了新的创作,赋予了许多新元素,在保留琵琶古老韵味的同时又注入了鲜明的时代气息,使琵琶音乐的创作和演奏水平都得到了很大的提高。三首琵琶作品,各曲无论从作品立意、乐曲结构还是演奏技法运用上皆有其突出的特点,在琵琶音乐由传统向现代的过渡中起到了承上启下的作用,并对以后的琵琶音乐创作产生了十分深远的影响。
本文通过对刘天华先生生平艺术成就的概述,对他三首琵琶作品的详细分析,通过作品表达的内容与思想感情,表现出刘天华先生改进国乐的热情和对国乐发展的期望以及对美好未来的憧憬。掌握作者的创作技巧,了解其丰富的创作内涵,综合的研究刘天华对民乐发展的贡献,进而了解传统音乐在新文化时期的重大转折,音乐家对于传统音乐的保护和继承,他的作品和革新理念对20世纪民乐发展的推动。了解历史的发展,做好中国传统音乐的继承和发展工作,为我国民乐的发展做出自己的贡献,使民族音乐更好的与世界音乐相融合,把民族音乐推向世界。
In recent years, our country pay more and more attention to the protection of traditional folk culture. In the protection projects of immaterial cultural heritage, China traditional music is an important one that can’t lack. The so-called" protection" refers not only to save but also the inheritance, which is the best protection. In China history, an important turning point of traditional music was caused by the New Culture Movement. Attracted strongly by the western music cultures, China music underwent a long process in which it experienced collision﹑communication﹑combination﹑change and development. New music was presented just by the introduction of western music, which was absorbed and combined by the traditional music. In the reform of traditional music, there is no doubt that Liu Tianhua is an outstanding person.
As an outstanding folk musician﹑educator, Liu Tianhua aspired to the reform of folk music. He worked on the ethnic music popularization and reform work persistently in his life. In addition to his historic contribution to the Art of Erhu, he also made outstanding achievements on China’s modern Pipa art development. He was proficient in a variety of national musical instruments and western instruments. At the same time, he mastered the creation of the national musical instrument, integrating the western music performance skills into his creation . His works have not only the traditional music unique national flavor, but also the unique style of western music. His improvement in Erhu﹑Pipa and other national instruments and the innovation to the traditional notation are conducive to the inheritance and development of traditional music. He wanted to change Chinese music looks, creating“Our Generation’s Art”through his own creation and struggle. Known as“the king of the plucked string music”, Pipa has a wealth of musical skills and expressive force. Liu Tianhua improved the musical instruments, absorbed the advanced playing methods and applied them to the works. Around 1920s, he created" Song and Dance"﹑" Improved" and"Virtual Lai" 3 lute bends and 15 etudes, making the Pipa Art have new creation and many new elements in the new period. At the same time these works infused the distinct flavor of the times into the retention of Pipa’s ancient characters. So the Pipa music creation and performance levels had been greatly improved. Seen from the work conception, structure of music or playing techniques used﹐the songs all had their outstanding characteristics. They played a connecting role in the Pipa music from traditional to modern transition and had a very far-reaching impact on the Pipa music creation. In the reform of traditional music, there is no doubt that Liu Tianhua is an outstanding person.
In this paper the author overviews Liu Tianhua 's artistic achievements and analyses his three lute works in detail. The content﹑ thoughts and feelings expressed in his works showed Liu Tianhua‘s enthusiasm on the improving the national music , expectations of development of Chinese Orchestra and hopes for a bright future. Readers can master the creative skills, understand the rich connotation of creation, study the contribution of Liu Tianhua’s to the folk music development comprehensively through his works. What’s more, readers can also understand the turning of traditional music in the new period, and know what he did for protection and inheritance of traditional music as a musician. His works and innovative ideas promoted the development of the folk music in twentieth Century. Understand the development of Chinese traditional and make contribution to the development of folk music. By doing these, the fusion of folk music and world music can be promoted, and can push the folk music to the world.
刘天华先生作为一位杰出的民族音乐家、教育家,一生以民族音乐改革为志向,矢志不渝地进行民族音乐的普及与革新工作,除了对二胡艺术做出了历史性的贡献外,对我国近现代琵琶艺术的发展也同样做出了卓越的成绩。他精通多种民族乐器和西洋乐器的演奏,掌握民族乐器的创作规律,把西洋音乐的演奏技法融汇其创作中,他的作品既具有传统音乐特有的民族韵味,又有西洋音乐独特新颖的表现方式。他对二胡、琵琶等民族乐器进行改良,对传统的记谱法进行革新,更是有利于传统音乐的传承和发展。他力图通过自身的创作与奋斗去改变当时中国音乐的面貌,创造出“我们这一代的艺术”。
琵琶被誉为“弹拨乐之王”,有丰富的演奏技巧和表现力。刘天华对其进行改良,吸取各种乐器先进的演奏方法运用到作品创作中,20世纪20年代先后创作了《歌舞引》《改进操》《虚籁》3首琵琶曲和15首练习曲,使琵琶艺术在新的历史时期有了新的创作,赋予了许多新元素,在保留琵琶古老韵味的同时又注入了鲜明的时代气息,使琵琶音乐的创作和演奏水平都得到了很大的提高。三首琵琶作品,各曲无论从作品立意、乐曲结构还是演奏技法运用上皆有其突出的特点,在琵琶音乐由传统向现代的过渡中起到了承上启下的作用,并对以后的琵琶音乐创作产生了十分深远的影响。
本文通过对刘天华先生生平艺术成就的概述,对他三首琵琶作品的详细分析,通过作品表达的内容与思想感情,表现出刘天华先生改进国乐的热情和对国乐发展的期望以及对美好未来的憧憬。掌握作者的创作技巧,了解其丰富的创作内涵,综合的研究刘天华对民乐发展的贡献,进而了解传统音乐在新文化时期的重大转折,音乐家对于传统音乐的保护和继承,他的作品和革新理念对20世纪民乐发展的推动。了解历史的发展,做好中国传统音乐的继承和发展工作,为我国民乐的发展做出自己的贡献,使民族音乐更好的与世界音乐相融合,把民族音乐推向世界。
In recent years, our country pay more and more attention to the protection of traditional folk culture. In the protection projects of immaterial cultural heritage, China traditional music is an important one that can’t lack. The so-called" protection" refers not only to save but also the inheritance, which is the best protection. In China history, an important turning point of traditional music was caused by the New Culture Movement. Attracted strongly by the western music cultures, China music underwent a long process in which it experienced collision﹑communication﹑combination﹑change and development. New music was presented just by the introduction of western music, which was absorbed and combined by the traditional music. In the reform of traditional music, there is no doubt that Liu Tianhua is an outstanding person.
As an outstanding folk musician﹑educator, Liu Tianhua aspired to the reform of folk music. He worked on the ethnic music popularization and reform work persistently in his life. In addition to his historic contribution to the Art of Erhu, he also made outstanding achievements on China’s modern Pipa art development. He was proficient in a variety of national musical instruments and western instruments. At the same time, he mastered the creation of the national musical instrument, integrating the western music performance skills into his creation . His works have not only the traditional music unique national flavor, but also the unique style of western music. His improvement in Erhu﹑Pipa and other national instruments and the innovation to the traditional notation are conducive to the inheritance and development of traditional music. He wanted to change Chinese music looks, creating“Our Generation’s Art”through his own creation and struggle. Known as“the king of the plucked string music”, Pipa has a wealth of musical skills and expressive force. Liu Tianhua improved the musical instruments, absorbed the advanced playing methods and applied them to the works. Around 1920s, he created" Song and Dance"﹑" Improved" and"Virtual Lai" 3 lute bends and 15 etudes, making the Pipa Art have new creation and many new elements in the new period. At the same time these works infused the distinct flavor of the times into the retention of Pipa’s ancient characters. So the Pipa music creation and performance levels had been greatly improved. Seen from the work conception, structure of music or playing techniques used﹐the songs all had their outstanding characteristics. They played a connecting role in the Pipa music from traditional to modern transition and had a very far-reaching impact on the Pipa music creation. In the reform of traditional music, there is no doubt that Liu Tianhua is an outstanding person.
In this paper the author overviews Liu Tianhua 's artistic achievements and analyses his three lute works in detail. The content﹑ thoughts and feelings expressed in his works showed Liu Tianhua‘s enthusiasm on the improving the national music , expectations of development of Chinese Orchestra and hopes for a bright future. Readers can master the creative skills, understand the rich connotation of creation, study the contribution of Liu Tianhua’s to the folk music development comprehensively through his works. What’s more, readers can also understand the turning of traditional music in the new period, and know what he did for protection and inheritance of traditional music as a musician. His works and innovative ideas promoted the development of the folk music in twentieth Century. Understand the development of Chinese traditional and make contribution to the development of folk music. By doing these, the fusion of folk music and world music can be promoted, and can push the folk music to the world.
引文
[1]刘北茂.刘天华音乐生涯[M].北京:人民音乐出版社,2004.
[2]汪毓和.中国近现代音乐史[M].北京:人民音乐出版社,2001.
[3]庄永平.琵琶手册[M].上海:上海音乐出版社,2001.
[4]刘育和.刘天华全集[M].北京:人民音乐出版社,1997.
[5]方力平,闵慧芬.刘天华记忆与研究集成[M].上海:上海音乐出版社,2009.
[6]袁静芳.中国传统音乐概论[M].上海:上海音乐出版社,2005.
[7]张静蔚.中国近代音乐史料汇编[M].北京:人民音乐出版社,1998.
[8]孙继楠,周柱铨.中国音乐通史简编[M].济南:山东教育出版社,1991.
[9]邓光华.中国民族民间音乐[M].北京:高等教育出版社,2002.
[10]刘再生.中国音乐史简明教程[M].上海:上海音乐学院出版社,2006.
[11]周宗汉.刘天华的生平和作品[J].中国音乐,1981,(1):15-16.
[12]李晖.刘天华琵琶音乐创作的特点[J].长沙大学学报,2008,22(4):114-115.
[13]张馨.刘天华琵琶曲《虚籁》的创作思想探微——暨纪念刘天华先生逝世70周年[J].中国音乐教育,2002,(9):29-30.
[14]李晖.刘天华的三首琵琶曲解析[J].交响-西安音乐学院学报,2007,26(2):51-56.
[15]顏春英.刘天华与“国乐改进”活动[J].艺海,2008(4):52.
[16]黄曙嫣.民族音乐改革家刘天华的成就与贡献[J].戏文,2007,(3):12-13.
[17]李杰.刘天华音乐美学思想初探[J].贵州大学学报(艺术版),2009,(4):43-46.
[18]袁亦桦.简述刘天华先生对中国音乐发展的历史功绩[J].四川教育学院学报,2008,(4):82-88.
[19]林艳华.刘天华音乐创作和美学思想探析[J].江西金融职工大学学报,2007,20(6):156-157.
[20]盛雪.融会贯通洋为中用——试析刘天华先生和他的琵琶作品《虚籁》[J].艺术研究,2008,(3):38-39.
[21]陈婧雅.刘天华民族音乐思想研究[J].音乐探索,2010,(2):37-40.
[22]黄明政.植根民族与世界同步——论刘天华先生的音乐思想[J].黄河之声,2008,(23):39-41.
[23]付明华.论刘天华对中国民族音乐发展的贡献[J].大众文艺,2011,(2):16-17.
[24]李永志.浅谈《虚籁》及其演奏[J].艺海,2000,(4):84-85.
[25]傅乐琳.琵琶艺术的继承和发展[J].贵州大学学报(艺术版),2002,16(2):59-61. [26斯琴.“崇明派”琵琶的传承及其现实影响[J].内蒙古大学学报(人文社会科学版),2007,39(2):110-113.
[27]王霖.琵琶“赢洲古调派”发源地所见曲目[J].中国音乐,2000,(1):31-36.
[28]刘育和.《刘天华全集》前言[J].中央音乐学院学报,2004,(3):20-22.
[29]曹月.贯通中西革故鼎新——刘天华先生对近代琵琶艺术贡献的再认识[J].音乐艺术(上海音乐学院学报),2004,(4):76-80.
[30]冯晓.刘天华——中国近现代音乐史上杰出的民族音乐家[J]. 2009,(2):111-113.
[31]申慧磊.简述刘天华先生对我国民族音乐的影响与贡献[J].2009,24(6):122-124.
[32]吴晓慷.刘天华音乐思想及对当代音乐教育的启示[J].南京社会科学,2009,(10):111-114.
[2]汪毓和.中国近现代音乐史[M].北京:人民音乐出版社,2001.
[3]庄永平.琵琶手册[M].上海:上海音乐出版社,2001.
[4]刘育和.刘天华全集[M].北京:人民音乐出版社,1997.
[5]方力平,闵慧芬.刘天华记忆与研究集成[M].上海:上海音乐出版社,2009.
[6]袁静芳.中国传统音乐概论[M].上海:上海音乐出版社,2005.
[7]张静蔚.中国近代音乐史料汇编[M].北京:人民音乐出版社,1998.
[8]孙继楠,周柱铨.中国音乐通史简编[M].济南:山东教育出版社,1991.
[9]邓光华.中国民族民间音乐[M].北京:高等教育出版社,2002.
[10]刘再生.中国音乐史简明教程[M].上海:上海音乐学院出版社,2006.
[11]周宗汉.刘天华的生平和作品[J].中国音乐,1981,(1):15-16.
[12]李晖.刘天华琵琶音乐创作的特点[J].长沙大学学报,2008,22(4):114-115.
[13]张馨.刘天华琵琶曲《虚籁》的创作思想探微——暨纪念刘天华先生逝世70周年[J].中国音乐教育,2002,(9):29-30.
[14]李晖.刘天华的三首琵琶曲解析[J].交响-西安音乐学院学报,2007,26(2):51-56.
[15]顏春英.刘天华与“国乐改进”活动[J].艺海,2008(4):52.
[16]黄曙嫣.民族音乐改革家刘天华的成就与贡献[J].戏文,2007,(3):12-13.
[17]李杰.刘天华音乐美学思想初探[J].贵州大学学报(艺术版),2009,(4):43-46.
[18]袁亦桦.简述刘天华先生对中国音乐发展的历史功绩[J].四川教育学院学报,2008,(4):82-88.
[19]林艳华.刘天华音乐创作和美学思想探析[J].江西金融职工大学学报,2007,20(6):156-157.
[20]盛雪.融会贯通洋为中用——试析刘天华先生和他的琵琶作品《虚籁》[J].艺术研究,2008,(3):38-39.
[21]陈婧雅.刘天华民族音乐思想研究[J].音乐探索,2010,(2):37-40.
[22]黄明政.植根民族与世界同步——论刘天华先生的音乐思想[J].黄河之声,2008,(23):39-41.
[23]付明华.论刘天华对中国民族音乐发展的贡献[J].大众文艺,2011,(2):16-17.
[24]李永志.浅谈《虚籁》及其演奏[J].艺海,2000,(4):84-85.
[25]傅乐琳.琵琶艺术的继承和发展[J].贵州大学学报(艺术版),2002,16(2):59-61. [26斯琴.“崇明派”琵琶的传承及其现实影响[J].内蒙古大学学报(人文社会科学版),2007,39(2):110-113.
[27]王霖.琵琶“赢洲古调派”发源地所见曲目[J].中国音乐,2000,(1):31-36.
[28]刘育和.《刘天华全集》前言[J].中央音乐学院学报,2004,(3):20-22.
[29]曹月.贯通中西革故鼎新——刘天华先生对近代琵琶艺术贡献的再认识[J].音乐艺术(上海音乐学院学报),2004,(4):76-80.
[30]冯晓.刘天华——中国近现代音乐史上杰出的民族音乐家[J]. 2009,(2):111-113.
[31]申慧磊.简述刘天华先生对我国民族音乐的影响与贡献[J].2009,24(6):122-124.
[32]吴晓慷.刘天华音乐思想及对当代音乐教育的启示[J].南京社会科学,2009,(10):111-114.
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