琵琶与打击乐《龙戏珠》

2021-08-04 15:52 作者:出逃的蚂蚁 0人读过 | 我要投稿

作品：琵琶与打击乐《龙戏珠》

作曲：刘健

演奏：庄雅雯、王音睿

翻译：张耀文

录音：王波

时间：2007年12月

获奖：第三届TMSK刘天华奖中国民乐室内乐作品比赛优秀奖

作品简介

此曲是为琵琶和花盆鼓等打击乐而作的现代民族室内乐作品。

作品命名来自于民族乐器的音响特质以及本人对作品音乐的联想：古往今来，琵琶有“大珠小珠落玉盘”美誉；而花盆鼓锤击、滚奏和滑奏鼓皮等产生的音响，仿佛可以令人联想到中国神异动物龙的跳跃、摆尾以及爬行。珠弹动，起落聚散；龙腾跃，躁愉盘舒；忽远忽近、时静时动、似实似虚……作品由此展开联想。

作品立足于结合中国民族风格与现代音乐语言的创作理念，从具体素材运用和抽象形式处理两方面进行探索。

具体素材：乐曲的素材取自中国传统民族器乐《金蛇狂舞》。在音高方面，对《金蛇狂舞》的取材途径包括核心动机的借用、调性布局、乐曲特征乐汇的引用、乐曲主题句的变形以及原型的拼贴。在节奏方面，包括取用《金蛇狂舞》整体托卡塔式的无穷动为乐曲主体律动，以及从其特征乐汇的琵琶奏法中提取重拍点再复合成乐曲切分节奏节奏动机。在整体音乐运动方面，以《金蛇狂舞》的狂欢为情绪作品的基调，于“相逐”和“狂舞”两主体段落一气呵成的快板（每分钟144拍）中体现。

抽象形式：音乐的延长和展开力求体现中国音乐独特的前进方式：如运用苏南十番锣鼓《金橄榄》和《宝塔尖》的数列节奏作为核心乐段的框架；运用变速度作为引子和“显威”部分的结构方式；夸张运用渐强减弱手法推动音乐前进，并借无声的寂静状态来反衬紧张高点……

乐曲由引子、“相逐”、“显威”、“狂舞”和Coda组成。引子（开始-4）以散板的形式呈示出全曲的核心素材，奠定乐曲情绪基调。“相逐”（5-12）是一气呵成的快板。可根据木类加鼓类音色，木类鼓类加金属类音色，以及琵琶独奏，划分为三大部分，对音高和节奏素材充分呈示和展开。“显威”（13、14）以花盆鼓的独奏为主。用散板陈述，作为衔接前后部分的间歇部分。 “狂舞”（15-26）包括《金蛇狂舞》变形的拼贴、打击乐独奏以及再现组成。Coda（27）是《金蛇狂舞》的原型与“金橄榄”数列节奏结合。

A short guide to the piece

The piece, for pipa and percussions, is a modern Chinese traditional chamber music.

The title is originated from the acoustic quality of Chinese traditional instruments and my imaginations : throughout the ages, pipa enjoys the reputation of “like pearls falling into a jade plate”, while the sound of the vase drum is produced by the techniques of hammer beating, rolling，scraping the drum surface，recalling the images of jumping, tail swinging, and crawling of Chinese dragon. With the pearl bouncing, and the dragon rising, creating the feeling of being now near now far, now still now active, now solid now nihil … from all the factors above does the piece develop.

The piece based on the principles of Chinese traditional music style and modern music language, employing the specific materials and abstract form.

Specific materials : the piece has drawn material from the Chinese traditional instrumental music Wild Dancing Golden Snake. In the pitch , it borrows the original core motif, tonality layout, and idiom, transforms the motif, and makes collages of the original fragments. As for rhythm, its main melody is based on the toccata-like perpetuum mobile of the “Golden Snake”. The down-beat in pipa’ rhythm is used incorporate a syncopated motif. As for the whole movement of the piece, like the revelry of “Golden Snake”，it brings forth the basic mood in allegro in the main sections of “Chasing” and “Wild Dancing ”.

Abstract form: The extending and the developing of music language is embodied in the unique Chinese pattern of development mode: e.g. the “ten-player gong and drum music”(shi-fan-luo-gu) as the core of the passage; changing tempo as the structure of the introduction and “Strength Displaying”; exaggeration of crescendo and decrescendo to drive the music’s movement, and the tranquil in contrast to the climax…

The piece is made up of by introduction , “Chasing ”, “Strength Displaying” , “Wild Dancing” , and coda.Introduction (beginning—4) settles the mood of the piece with the rubato as the core material.“Chasing ”（5—12）is an allegro without stop. It can be divided into three sections by the timbres of :1) wooden and drum family, 2) the two above and metal family, and 3) solo of pipa, with the purpose of exposition and development of the pitch and rhythm materials.“Strength Displaying” (13、14)is mainly produced by vase drum solo, presented in rubato as the interlude.“Wild Dancing”(15—26) is combined with transformation collages of “Golden Snake”, percussion solo, and recapitulation.Coda(27) is the combination of the archetype of the “Golden Snake” and the “Golden Olive”.

乐器编制 Instrumentation

木鱼（temple block） 3

排鼓（drum set） 4

花盆鼓（vase drum） 1

磬（chime/qing） 1

Small cymbal 3

Small gong 1