摘要
我的创作理念很简单,即雅俗共赏、中西并存。雅——作品的结构、形式、语言等综合方面具有较强的艺术性;俗——作品的“可听性”和可按受面。中西并存是指用我国的优秀民间音乐素材结合一切可用的传统及近现代作曲技法来融合、创作。不可否认,在当今的民族器乐创作领域中,要想使作品获得成功和广泛的认可,必须要有创新意识和手法。手法当然是越多越好,关键看怎样取舍。而创新并非是越“新”越好。这里面有一个“创新度”的问题,包含了公众的衡量标准。我认为,创新应在传统的基础上创新,我所把握的“创新度”是“新而不怪”。也就是说在作品中应有一定的新信息量,但不能太多、太杂,超出了大多数人能接受的范围而导致他们无所适从。这是我给自己定的标尺。 在作曲技法的运用上,我认为可以分以下几个层面:一是技法简单且效果不错,这最次;二是技法虽“复杂”但效果也不良,这其次;三是用复杂的技法达到较好的效果,是为佳;四是用“简单”的技法达到最好的效果,为最佳。这里所指的简单与复杂,并非是指一般意义上的,也非指技法本身有好坏之分,而是在于运用过程中的得当与否与娴熟程度。总之,尤其在民族器乐创作中,我认为应该避免为技法而技法的倾向,还是应从表现力出发,如同我们传统的国画与水墨画一样,应该有“
My concept of composition is simple, i.e. a combination of both popular and refined tastes and of the Chinese and the Western. By 'refined', I mean the relatively stronger artistry of a work in its structure, form and language; while by 'popular', I mean it is 'listenable' and acceptable. The combination of the Chinese and the Western refers to compositions which combine all of the applicable traditions with elements of our country' s fine folk music, with modem and contemporary composing techniques. It is true that the success and popularity of a present-day composition in fields of national instrumental music rely on innovative ideas and techniques. The more techniques, the better, but the point is how to choose. In terms of innovations, though, it is not the more the better. There is an issue of 'extent of innovation' which contains the evaluation criteria of the public. In my view, innovation can only be made on the basis of traditions. My idea of 'innovation' is more of one that is 'new but not queer'. In other words, there should be some new information in a work, but not too much or too various, for otherwise, it will go beyond the scope that the majority of the public can accept and may lead to their incapability to comprehend it. This is a standard I set for myself.
The application of composing techniques, in my opinion, comprises the following aspects: the first is that of simple techniques with fair effects, which is the worst one; the second is that of 'complicated' techniques but without so good effects, which is better; the third is that of 'complicated' techniques with better effects, which is quite good; and the fourth is that of 'simple' techniques with the best effects, which is the best one. The meaning of 'complicated' and 'simple' does not indicate a general sense of the two words, nor it implies any difference between a good technique and a bad one. Rather, they represent the appropriateness and the degree of skillfulness in the process of practice. In a word, in terms of national instrumental music composition, I suggest that we should avoid the inclination of 'technique for technique's sake', and should place emphasis upon the expressive force of a work. In like manner, attention should also be paid to the aesthetic orientation of performers. The works that we provide to them should be original but not too obscure. Of course, creation varies from one composer to another and from one composed work to another. Each compose has his own style and his own attainments. Prosperity of creation is subject to multiple orientation, levels and genres. Individual ability is often limited, but as long as one sticks to the same orientation while working with perseverance, he will surely succeed.
