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1995年11月25日,钢琴家鲍蕙荞在北京举办了《95中国作品音乐会》。这是鲍蕙荞自1992年右手手腕骨折后的第一次独奏音乐会。首都音乐界对音乐会反响强烈。在中央音乐学院梁茂春教授为研究生开设的“音乐评论研讨课”上,同学们展开了一场热烈的讨论。以下是部分研究生的发言摘要。 项筱刚: 我听鲍蕙荞的演奏,是从她的一盘专辑盒带《彩云追月》开始的。现场一睹风采,这还是头一回,但却有一种似曾相识之感。整场音乐会中,崔炳元的《川西高原素描》、吴祖强、杜鸣心的《鱼美人》选曲和黄安伦的《序曲与舞曲》给我印象较深。鲍蕙荞对《鱼美人》的音乐处理并未受舞蹈音乐的限制,节奏比较自由、气息更长一点,但依然可见鲜明的舞蹈形象,尤其是《水草舞》。最
On November 25, 1995, pianist Bao Huiqiao held a concert entitled “95 Chinese Works” in Beijing. This is the first solo concert of Bao Hui-huang after a right wrist fracture in 1992. The capital music community reacted strongly to the concert. The students conducted a lively discussion at the “Seminar on Music Review” offered by Professor Liang Maochun of the Central Conservatory of Music. The following is a summary of some graduate students’ speeches. Xiang Xiao Gang: I listen to the performance of Bao Hui Qiao, from her one album album with “Choi Wan Chasing the Moon” began. The scene to see style, this is the first time, but there is a sense of deja vu. Throughout the concert, Cui Bingyuan’s “West Sichuan Plateau Sketch”, Wu Zuqiang, Du Mingsin’s “Fish Beauty” selections and Huang Anlun’s “Overture and Dance” impressed me deeply. Bao Huiqiao’s treatment of “Fish Beauty” has not been restricted by dance music. The pace is relatively free and the atmosphere is longer, but distinctive dance figures are still visible, especially the “Aqua Dance.” most