作曲家鲍元恺分享 http://blog.sciencenet.cn/u/byk0104 厦门大学艺术研究所所长 天津音乐学院教授

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炎黄风情 中文英文解说

已有 6220 次阅读 2020-2-20 21:18 |个人分类:炎黄风情|系统分类:人文社科


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炎黄风情评论链接

苏夏:智者们艰难的求索

于润洋:《炎黄风情》是中国音乐文化复兴的表现

梁茂春:“鲍元恺现象”漫论

储望华:听鲍元恺《炎黄风情》 所引发的联想

王安国:《炎黄风情》进入中学音乐课堂的启示

卞祖善:炎黄风情 蔚然成风

王东路:音乐批评与音乐美学

阿镗:管弦乐因有《炎黄风情》而不再是西乐

过客:投我以木瓜 报之以琼琚  我听元恺先生《炎黄风情》

陈志音:《炎黄风情》唤起了我们对母语的追溯

左云瑞:线性思维下的动力与色彩

伍国栋:鲍元恺音乐创作 的“民族语言”

胡玉兰:壮哉!中国风 壮哉!鲍元恺

郭  昕:人写 写人 为人写——《炎黄风情》国交音乐会后访作曲家鲍元恺




 



鲍元恺

炎黄风情
中国民歌主题24首管弦乐曲
 
《炎黄风情——中国民歌主题24首管弦乐曲》,19911013日由王钧时指挥天津交响乐团首演。这部由六个组曲组成的大型管弦乐作品,以脍炙人口的中国民歌旋律和绚丽的西方管弦乐色彩,展示了一幅幅汉族人民的生活画卷。自1991年首演以来,通过国内外乐团在世界各地的频繁演出,使《炎黄风情》成为在海内外演出率最高的中国管弦乐作品。从1995年起,经教育部审定,《炎黄风情》陆续进入中国大陆各地中小学的音乐课本,成为传承民族音乐文化的重要教材。
 
 
 
(一)  燕赵故事

1. 小白菜 

这是我在童年听到的第一首民歌——首流传久远的歌,它表现了一个失去母亲的孩子遭受继母虐待的悲惨境遇,和他对生母的怀念之情。我以这首民歌的凄婉旋律为基础,用弦乐刻画主人公对往日温暖亲情的眷恋,以及为母亲送葬情景的回忆。中间部分的旋律是我根据河北民歌《哭五更》的音调重新创作的,其中有哀伤的呜咽,无奈的叹息,也有短暂的憧憬。当旋律重新回到《小白菜》时,小提琴以充满幻想的空灵音响把人们带到了这苦命孩子寄希望于天国的依稀梦境之中。
 
 
  2. 小放牛 


  这是一首农村歌舞曲,曾被编成京剧和昆曲短剧而流传全国。 
清晨, 阳光明媚,清风拂煦,牧童在牛背上吹著竹笛悠然自得地走出村口。路上,一位美丽的村姑向牧童问路,牧童则以“赵州石桥什么人修?玉石栏杆什么人留?什么人骑驴桥上走?什么人推车轧了一道沟?”一连串问题请村姑回答,作为指路的条件。 聪明的村姑有问必答,一一应对,二人边唱边舞,一派天真。乐曲用音色对置的手法表现一问一答的诙谐情趣,最后以乐队的全奏将欢乐气氛推向高潮。
 
 
   3. 茉莉花 
中国各地特别是东部各省几乎都有旋律、歌词各不相同的《茉莉花》长期流传。我选取了我的祖籍河北沧州地区的《茉莉花》的旋律。这是一首优雅细腻,精致委婉的歌曲,表现了少女以茉莉花自喻,对美好爱情充满幻想的烂漫情怀。由小提琴、中提琴先后演奏的《茉莉花》旋律,时而恬淡宁静,时而含情脉脉,时而以不协和和弦表现少女偶上心头的一缕愁绪。当另一旋律与《茉莉花》重唱时,则像是一首爱的颂歌。然后,音乐转入沉思,又在结尾时凭添一丝惆怅
 
 
4. 对花 
  “春季里来什么花儿开?春季里开的是迎春花 ……” 对句歌是民歌中常见的形式,而依季节次序问答花名则是对句歌中常见的内容。这首乐曲的主题采用的是河北沧州地区的《对花》,中部则是另一首沧州民歌《放风筝》的旋律。
全曲以多变的节奏、对置的音色和丰富的力度变化描绘出对歌场上欢腾热烈的场面:一连串喋喋不休的反复音调,像是场外熙熙攘攘的人群呼喊助威。中部插入的慢板则是手执竹板击节入场的女子表演“落子”(莲花落)的舞蹈场面。
 
 
 
(二)  云岭素描
 
 1. 小河淌水 

  “月亮出来亮汪汪,想起我的阿哥在深山,哥象月亮天上走,山下小河淌水清悠悠。”这是一首即景生情,情景交融的云南情歌。 
乐曲以原曲歌词提供的时间(月夜)、空间(山下小河旁)为背景,用弦乐高音区的模糊音响模拟朦胧月夜,用钢琴、竖琴、钢片琴的丁冬音响模拟小河流水。恬美的英国管和明亮的长笛先后唱出柔美动人的旋律。当乐曲转为全体弦乐齐奏时,低声部模拟“阿哥”以放慢一倍的同一旋律热烈应和,把炽烈的爱情之歌推向高潮。
 
  2. 放马山歌
 
“正月放马正月正,赶起马来登路程;二月放马百草发,小马吃草顺山爬……”这首流传全国的云南民歌,表现了放马人豪爽的性格。乐曲中使用打击乐器和小提琴的滑奏模拟马铃、马蹄、马鞭声和放马人的吆喝声。中部以《赶马调》的悠闲舒缓节奏和甜美平稳旋律刻画放马人途中休憩的情景。
 
 
  3. 雨不洒花花不红
 
“哥是天上一条龙,妹是地上花一蓬,龙不翻身不下雨,雨不洒花花不红。”这首云南情歌歌词语语双关,言简情深;旋律调式独特,婉转动人,曾在各地广为流传。乐曲以象征雨滴的三连音音型贯穿全曲,先后用大管、单簧管加短笛以及弦乐木管的交替演奏这优美迷人的旋律。 
  
  4. 猜调 
  这首幽默诙谐的云南童谣以“绕口令”式的节奏表现了姐妹问答对歌的活泼情趣:“小乖乖来小乖乖,我们说给你们猜:什么长,长上天?哪样长,海中间?什么长长街前卖嘛?哪样长长妹跟前?”“……银河长,长上天;莲藕长,海中间;银线长长街前卖,丝线长长妹跟前。”乐曲以木管乐器的明亮音色和弦乐拨奏的轻快节奏突出显现了旋律的戏谑气氛,中部引用了另一首云南民歌《安宁州》的优美旋律。
 
(三)  黄土悲欢
 
  1. 女娃担水

   
乐曲的主题是一首反映旧时代农村女子苦难生活的陕北民歌。全曲采用传统的变奏曲体裁,从多侧面揭示苦难中的女子的内心世界。主题和最初的两个变奏凄楚悲凉,第三变奏刻画了主人惆怅不安的心理活动,第五变奏表现了她向悲惨命运的无力的抗争。最后一个变奏又回到悲凉的主题,而且变得更加孱弱纤细——苦难是难以摆脱的。 
 
 
  2. 夫妻逗趣 


“说你呀,邋遢呀,真邋一得遢呀,头上的金丝么乱呀如麻呀,娃他妈!”这首对唱描绘了一对夫妻相互取笑的嬉戏场面。三弦和板胡象征一对嬉戏中的夫妻。钢琴的不协和音和小堂锣的滑稽音色强化了乐曲的喜剧色彩,半音调性对置和节拍错位更使乐曲充满幽默感。 
 
 
  3. 走绛州

 
这首歌流行于陕西和山西,表现了主人公肩挑扁担口唱歌谣步履轻快地向绛州进发的愉快心情。板胡的旋律轻松愉快,小提琴的固定音型好像扁担上下忽闪的颤动,全曲展现出一幅优美的乡间画面。
 
 
  4. 兰花花
 
  《兰花花》是一首产生于陕北流传于全国的叙事歌曲。歌曲强烈控诉了旧时代包办婚姻对自由爱情的摧残,歌颂了反叛封建礼教,追求幸福婚姻的青年女子兰花花。然而,在封建社会,她不可避免地要以生命为代价而走向悲剧的结局。 
乐曲的第一部分以柔美的双簧管和热情的大提琴表现兰花花和她的情人充满幻想的甜蜜爱情。中段以铜管的强暴威严和弦乐的悲恸哭诉象征兰花花的抗争和愤怒,定音鼓和大锣的哀鸣预示了悲剧的结局。乐曲结尾,定音鼓沉闷地奏出主题,留下了最后的微弱呼唤。
 
 
(四)  巴蜀山歌
 
  1. 槐花几时开 

  巴山蜀水,培育了四川人勤劳、爽朗而富于幽默感的性格。这首词曲并茂的《槐花几时开》是一曲典型的四川山歌。歌词只有四句,却情景交融,意味深长:“高高山上一树槐,手把栏杆望郎来,娘问女儿望啥子,我望槐花几时开。”其旋律也十分别致,从全曲最高音起,每句歌词拆为两个乐节,并加入四川山歌特有的衬字,起伏婉转,扣人心弦。 
乐曲由双簧管、圆号、弦乐、长笛和英国管先后演奏这首山歌的优美旋律。 和声以另一调性做背景衬托,描绘了一个远景近景既分离又相合的山村画面。 
 
 
  2. 黄杨扁担
 
  这是一首四川秀山花灯调,表现了小夥子挑担到酉州送米,却兴致勃勃地观察酉州姑娘梳头打扮的情景。歌词俏皮风趣,四川民歌特有的衬词更增添了歌词的幽默感:“黄杨扁担软溜溜哇(姐里哈里呀),挑一担白米下酉州哇(姐呀姐呀) 下酉州哇(哥里哈里呀)。”
乐曲以强劲的全奏刻画小夥子彪悍的形象,中段以一首山歌的二重唱表现年轻挑夫休憩时悠然自得的神态。

 
  3. 绣荷包 
  《绣荷包》是中国民歌中常见的题材,表现少女为情人绣荷包时的兴奋与羞涩心态。荷包是男人系于腰间用以装钱和零星物品的布袋,女子常以荷包赠与情人作为定情物。民歌中《绣荷包》以四川、山西和云南的三首流传最广。
乐曲从弦乐四重奏开始,然后转为木管,间以竖琴的装饰性滑奏和长笛的华彩乐句,宛若姑娘手中的飞针走线。 
 
 
  4. 太阳出来喜洋洋 
这是一首爽朗明快的四川山歌:“太阳出来喜洋洋,挑起扁担上山岗,手中拿把开山斧,不怕虎豹和豺狼。” 乐队全奏贯穿全曲,铜管乐器粗野的呐喊,弦乐从压抑到爆发的转接,以及定音鼓的狂燥敲击,表现了雄性勃发的阳刚之气。 
 
 
(五)  江南雨丝
 
  1. 无锡景 



   以锡山、惠山和太湖闻名于世的江南名城无锡,历来是诗人、画家和音乐家的灵感之源。以无锡为题的名曲,一是阿炳的《二泉映月》,一是这首江南小调《无锡景》:“天下第二泉,惠山脚半边,泉水碧清,茶叶泡香片,锡山相对惠泉山,山脚下,两半边,开个泥佛店。”这首管弦乐曲以清秀的木管音色和朦胧的弦乐音色描绘了无锡秀美迷人的湖光山色。
 
 
  2. 杨柳青
 
这是一首欢快活泼的扬州小调。“杨柳青”是原歌中的衬词,并无特别含义。这首小调歌词不固定,常填入诙谐,风趣,欢快的词句。乐曲采用弦乐拨奏, 从两个声部开始,逐步转入全部弦乐的拨奏,并以拨奏模拟民间打击乐的锣鼓节奏,突出了乐曲的欢快气氛和俏皮性格。 
 
 
  3. 拔根芦柴花
 
这是一首江都县的秧田歌,“拔根芦柴花”系原曲衬句。“白米饭好吃要把秧来栽,鲜鱼汤好喝要把网来拈……”乐曲以钢琴和长笛先后演奏这首秧田歌的轻快旋律,弦乐拨奏和清脆的板鼓伴奏之,勾画了一幅秀美的江南图景。
 
 
  4. 紫竹调

 

  这原是一首流行于苏州的市井爱情小调,后成为上海沪剧曲牌。其歌词经历代艺人传播修改,成为一首含蓄有趣的情歌:“一根紫竹直苗苗,送与哥哥做管箫,箫儿对著口,口儿对著箫,箫中吹出开花调。问哥哥,这管箫儿好不好?”乐曲以弦乐和二胡、琵琶、曲笛演奏旋律,竖琴的晶莹琶音与之相和,颇具江南丝竹的风格。
 
 
 
(六)  太行春秋
 
 
  1. 走西口 

《走西口》讲述的是过去年代生活在黄土高原贫瘠地区的人们背井离乡,到口外谋生的故事,流行于山西、陕西的北部和内蒙古西部。各地的《走西口》内容相近,曲调却有很大差异。这里所采用的是山西小调的旋律:“哥哥你走西口,小妹妹我实难留,手拉著哥哥的手,一直送到小村口。”乐曲以如泣如诉的弦乐音色和细腻落错的复调声部淋漓尽致地表现了一对情人依依不舍的离愁别绪------这里有缠绵悱恻的喃喃私语,更有肝肠欲断的生离死别。
  
   2. 闹元宵
 
“正月十五闹元宵,太原城里好热闹,这一边灯耍龙摆尾,那一边秧歌扭得好。”这是一首欢腾热烈的山西民歌,表现了元宵节之夜人们兴高采烈的心情。乐曲以铜管的引子和唢呐的曲调把人们带到了一年一度的元宵晚会气氛之中。当人们沉浸在节日之夜的欢乐之中的时候,一曲深情的《绣荷包》缓缓流入人们心田:“初一到十五,十五的月儿高,那春风吹动杨呀杨柳梢。”表现了“每逢佳节倍思亲”的独特心境。
 
  3. 爬山调
 爬山调流行于山西河曲和内蒙古武川一带,亦称山曲。它同陕北的信天游在结构上十分相近,都是散板式的上下句结构。内容亦同爱情题材为主,乐曲由两首爬山调联合而成,我们从中可以看到山村男女青年以山曲表达心声的情景。
 
 
  4. 看秧歌 

秧歌是北方农村流行的一种边歌边舞的民间歌舞,山西的秧歌以晋中地区的太谷秧歌最为著称。太谷秧歌以叙事歌曲和短剧为主。这一首《看秧歌》本身就是一首秧歌曲,描述了一对姐妹结伴到邻村看秧歌,一路上趣事层出的情景。乐曲突出了秧歌的打击乐音响,以北方特有的火爆气氛把音乐推向高潮。
 
 



YANHUANG FENGQING
Chinese Sights and Sounds 
Twenty-four Pieces on Chinese Folk tunes for Orchestra
Composed by Bao Yuan-kai
 

Premiered by Tianjin Symphony Orchestra in October 13th,1991 conducted by Wang Jun-shi, the work includes six suites based on folk songs which enjoy great popularity around the country and composed with bright and colorful Western orchestral timbre unfolding pictures suggesting traditional life among the Han Chinese.? Since its premier in 1991, the work has been performed to acclaim not only in China but also in the world of music beyond China, thus listed on top of performance frequency of Chinese Orchestral Works. Beginning in 1995, after examination and approval by the Education Ministry, “Yanhuang Fengqing” has been an integral component of music education in both elementary schools and secondary schools throughout China.?The piece is considered a vital contribution to students' appreciation of nationality traditions.
?

  Suite 1. Yan Zhao gu shi
  Hebei Folk Songs
  
Stories on the Lands of Ancient Yan and Zhao

  
1. Xiaobaicai:_Little Cabbage 
  This very popular folk song concerns a boy who was ill-treated by his stepmother and about the boy’s yearning for his birth Mother. Apart from the touching melody, the strings are highlighted to express the boy's sorrow and deep memory of his mother at the time of her burial. The melody in the middle section is newly composed, based on another Heibei folk song, "Crying at the Daybreak", to emphasis the boy's sob, helpless sighs and also brief yearn for the future. In the end, while the tune of “Little Cabbage” returns replete with illusion and imagination, the violin brings listeners into the misty paradise which the poor boy so painfully puts his hope.

2. Xiaofangniu: The Little Cowherd
  This popular tune adapted from the countryside Song & Dance genre has also been re-arranged for Peking Opera and Kunqu Opera. One morning riding his cow in the bright sunshine surrounded by a gentle fresh breeze, the little cowherd blew his horn leisurely. When he approached the village edge, a girl asked him to show her the way. When the boy tested her with a series of questions as requirement for directing her, the intelligent girl replied readily and fluently. The two sang and danced together happily. The piece uses countered timbre to illustrate the light-hearted nature of their relationship, and this amusing exchange is pushed to climax by the full orchestra.
  
3. Molihua: Jasmine
  Songs named "Jasmine" can be found all over China, especially in the eastern provinces. This elegant and delicate melody is from the composer’s hometown Cangzhou in Heibei Province. The tune is first played by the violins, followed by the violas, describing how a girl fancies herself as a jasmine flower. When the melody plays duet with another tune, listeners detect a theme of praise to romantic love. At length, the music turns contemplative, ending with a bit of melancholy.

4. Duihua: A Dialogue of Flowers
The format of questions and answers is often found in folk songs and themes related to flower names sung according to the different seasons are quite common. The theme of Duiha is adopted from Cangzhou,and the other theme in the middle section,called "Flying the Kite" is also from Cangzho. The changing rhythms, contrasted tone colors and frequent dynamic shifts convey a joyful, jubilant picture. Chains of repeated tones sounds are like an enthusiastic crowd cheering the singers. An inserted slow section imitates girls dancing Lianhua Lao with bamboo clappers in their hands.
 
Suite 2. Yun Ling su miao
Yunnan Folk Songs
Sketches of the Highland of Yuannan 
 

1.Xiaohe Tangshui: Flowing Stream
This Yunnan love song harmonizes emotion and scenery, describing how much a girl is missing her lover on a softly moonlit night. Different instruments evoke the scenery, such as the string instruments playing dimly in the high register to represent the moonlit night, while the piano, harp and celesta’s tinkling sounds represent the flowing stream. The touching melody is first played by English horn, then by flute. When the full string ensemble plays in unison, the low register section, representing the boy, is echoed by playing at half speed of the same melody, bringing the love song to its emotional pinnacle.

2. Fang Ma shange: Song of Wranglers
This popular Yunnan folk song describes how herdsmen graze their horses on the pasture land and mountain. It also shows the bold and straightforward character of the herdsmen. The percussions and the glissando of the violins are used to mimic the sounds of horse bells, hoofs and whips as well as the herdsmen urging their mounts. Another tune with slow tempo and sweet melody appears in the middle section, suggesting the peacefulness of the herdsmen when they take a break from their labors.

3. Yu bu sa hua hua bu hong: Flowers Would Not Blossom Without Rain
 This well-known Yunnan folk song is presented in pun form, in which the girl is like a cluster of flowers and her lover is like a dragon in the sky. The lyrics convey emotion, and the melody is lovely. Triplet patterns, symbolizing raindrops, are used throughout. Bassoon, clarinet and piccolo are played one after another, as well as string and woodwind instruments alternately, all combining to perform this fascinating melody.

4. Caidiao: Song of Riddles 
“Caidiao” is a children's folk rhyme from Yunnan in form of a tongue twister. The song depicts the manner in which two sisters engage with each other by way of questions and answers. The playful argument reflected in their banter is manifest by the bright timbre of the woodwinds and vivid rhythm provided by the string’s pizzicato. The midsection of the piece borrows a graceful melody of another Yunnan folk song "Anningzhou".     


Suite 3. Huang tu bei huan
Shaanxi Folk Songs
Sadness and Happiness on the Yellow Soil Highland


1.Nuwa danshui:  A Girl Carrying Water 
This is a theme and variations based on a Shaanxi Folksong about a country girl's hard life in the distant pass.
The girl's inner feelings and state of mind and heart are probed from several perspectives. The theme and the first two variations show her to be sad and miserable, the third variation finds her melancholy, the fourth variation reveals her powerlessness to mount resistance against misery. Though the last variation returns to the miserable main theme, it appeared even weaker than before. 

2.Fuqi douqu: The Amusing Couple 
This original folk song features two characters---husband and wife---who are cheerfully making fun each other musically. The san-xian, a three-stringed Chinese plucked instrument and the banhu (two bows string instrument) symbolize the couple respectively. Discord from the piano and amusing color from a small gong, as well as the opposing chromatic tonalities, and dislocation of the rhythms enhance the humor of the piece.

3. Zou Jiangzhou:  Going to Jiangzhou 
  This folk song popular in Shaanxi and Shanxi highlights a cheerful man humming while walking with brisk steps, carrying a pole on his shoulder as he approaches Jiangzhou. A light-hearted tune on the banhu, illustrates the beautiful country scenery, is matched by drone of the violin, which imitates the steady rhythmic motion of his shoulder pole.

4.Lan Huahua:  Lady Lan Huahua 
This ballad, which originated in Northern Shaanxi Province, is popular throughout China. It concerns a brave girl called Lan Huahua who dares protest against the feudalistic traditions that forbade young females from having any say about whom their fathers chose for their future husband. Her struggle ended in tragedy by costing her life. The music begins with the oboe and cello, suggesting the passionate devotion between the girl and her lover. Next come the brass and strings, symbolizing her wrath and resentment. A kettle drum and wailing gong foreshadow the tragic ending, as each repeated depressing drum beat is struck more and more slowly, leaving behind only a faint call.

Suite 4. Ba Shu shan ge
Sichuan Folk Songs
Mountain Songs of the Ancient States Ba and Shu


1.Huaihua jishi kai:  When Do Sophora Flowers Bloom
  Sichuan people are known for their diligence, straightforwardness and humor. This typical Sichuan folk song introduces a young girl pining for her lover. When her mother asks what she is looking at, the shy maiden unwilling to tell the truth, makes a slight detour from straightforward, replies that she was wondering when sophora tree will bloom. The text is tactful and thrilling, with an the amusing and unique melody that is played by the oboe, horn, string instruments, flute and English horn respectively, while the harmony in different tonality provide the background as if picturing the village scenery from near to far, separately and together to intriguing effect.

2. Huangyang biandan: Yellow Poplar Shoulder Pole 
  This Sichuan folk song features a young man carrying a load of rice to Qiuzhou. When he reaches Qiuzhou, he notices a group of girls combing their hair and decking out. The music begins with a full orchestra to portray the strong healthy young man’s appearance, while a mountain song duet in the middle of the piece depicts the leisurely and relaxed mood during his rest.

3. Xiu hebao Embroider a Pouch 
  Pouch embroidering is a very popular theme in Chinese folk songs. Such songs illustrate the excitement and shyness of young girls when embroidering pouch for their sweethearts. The music begins with the string quartet, later followed occasionally by the woodwinds with ornamented glissando by the harp, as well as cadenza phrases by the flute, suggestive of the needle and threads running in the girl’s fingers.

4.Taiyang Chulai Xiyangyang: Happy Sunrise 
  This lively and straightforward folk song from Sichuan Province describes the happiness and pride of firewood cutters when climbing up the hills to work. Full orchestra tutti is played throughout, with yelling brass, transit from constrain to outburst of the strings, as well as the wild beating of the kettledrums reflected and strengthened the masculine spirit.

Suite 5. Jiang nan yu si
Jiangsu Folk Songs

Drizzle in the South
  1. Wuxi Jing: Wuxi Scenery
  Wuxi in Jiangsu Province is not only famous for its beautiful scenery but also renown as a source of inspiration for poets, painters, and musicians. "Moon Reflected in Two Streams" and “Wuxi Jing” are both well-known tunes about Wuxi. This orchestral version of the folk song uses graceful woodwinds and the dim timbre of the strings to depict the charming scenery.

2. Yangliuqing: Green Willow 
  This animated and brisk Yangzhou folk song–--so named because it uses "green willow" as a foil in the lyrics is changeable, with humorous and cheerful words. Pizzicato is played by all strings throughout the entire piece, beginning from two parts and increasing to encompass the whole. Pizzicato is even used to imitate the rhythm of the folk gongs and drums. The delightful and witty joking tone of the melody is thus fully expressed.

3. Bagen Luchaihua: Pulling out a Reed Catkin 
  This folk song from Jiangdu County is always sung when farmers transplant rice seedlings in the rice fields. The title “Pulling out a Reed Catkin” is a foil in the lyrics. Accompanied by the strings in pizzicato and the ringing beat of small drums, the tune is played by the piano and flute respectively to represent the beautiful Jiangnan scenery.
4. Zizhudiao: Purple Bamboo-flute Tune 
  Zizhudiao was an especially popular love xiao diao (small tune) in Suzhou towns and later became a qu pai (labeled melody) of Huju Shanghai local opera. The lyric is veiled and amusing. Accompanied by arpeggio of the harp, the melody is played by the strings , erhu, pipa and qudi in the style of Jiangnansizu.
  
Suite 6. Taihang chun qiu
Shanxi Folk Songs
          
Seasons in Taihang Mountains
1. Zou Xikou: Going to West Pass 
  Popular in Shanxi, Northern Shaanxi, and Western Inner Mongolia, this folk song references the migration of poor people from the Highlands leaving home to seek a livelihood. Sung in different places, the folk song usually has the same content fixed with various styles of music. The predominant melody here is adopted from the Shanxi xiaodiao (little tune), with its theme of the sad separation between two lovers. Their lingering sentimental whispers and deep sorrow are expressed by the sad timbre of the strings and the precise alternated polyphony provided by the orchestra.

2.Nao Yuanxiao:  Happy Lantern Festival 
  This Shanxi folk song expresses the happiness and excitement of people celebrating the Lantern Festival. The introductory brass and tune played by suona (double-reed shawm ) entice the listeners into an atmosphere of festive joy. While immersed in the joyful night, people heard a soft and emotional tune "Embroidering Pouch" inflow slowly into their heart, reflecting the unique sentiment of missing dear relatives and friends far away during this annual nation-wide observance.

3. Pashan diao:  A Tune of Mountain Climbing 
  Popular in Hequ, in Shanxi Province, and in Wuchuan, in Inner Mongolia, Pashan diao is also known by name of Shanqu (“Mountain Tune” ).Regardless of title, the structure of mountain tunes is similar to that of Xintianyou from Northern Shaanxi Province. Both versions feature sanban (scattered beat) of two phrases, and they share a main theme of love. This orchestral piece combines two mountain tunes which reflect the way that young villagers express their love by singing mountain songs.

4. Kan Yangge Going to Watch Yangge Dance
  Yangge is a country song -and -dance genre popular in the villages of Northern China. The most famous Yangge in Shanxi Province is the Taigu Yangge, characterized by its ballad songs and short plays. This Kan Yangge portrays two sisters who encounter a variety of unexpected adventures as they travel on their way to watch a Yangge Dance. Percussions played enthusiastically in typical local flavor are highlighted and propel the music to a rousing climax.



 
 




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