摘要
本文通过对汪立三的钢琴作品《# F商 :书法与琴韵》的标题与题诗的解读 ,将音乐听觉形象与中国书法“草书”的视觉形象的类比 ,探析其作品中所体现的“中国风格”。论述其中的赋格所体现出的古琴音乐之美学特征与文化内涵 ,并将其与欧洲传统赋格进行对比分析 ,得出结论 :该作品中的“中国风格”不仅仅体现在中国民族的五声性调式与标题性音乐传统 。
Through unscrambling the title and poem of Wang Lisan's piano work #F Shang: Calligraphy and Music Verve, the article made an analogy between the imagination of hearing music and cursive vision of Chinese calligraphy. The writer try to show the Chinese style in that work, especially the fugue of it representative the music aesthetics features and the meaning of the culture, and also compared it with European traditional Fugue. The writer concluded that the Chinese style of that work, not only embodied on Chinese traditional pentatonic scale, but also the representative significance of Chinese traditional cultures internally.
出处
《黄钟（武汉音乐学院学报）》
CSSCI
北大核心
2004年第2期34-40,共7页
Huangzhong:Journal of Wuhan Conservatory of Music
关键词
汪立三
钢琴音乐
文化
书法
琴韵
中国风格
Wang Lisan (～), piano music, culture, calligraphy and music verve, Chinese style
