音樂(lè)外文翻譯--鋼琴曲《彩云追月》的藝術(shù)特征

1、<p>　　The Artistic Features of Piano Music</p><p>　　Author: John Joe Translation: Zhang Qian</p><p>　　"Color Cloud Chase" is the 20th century, 30 years Ren Guang as Shanghai EMI

2、 record director of the program and Nie Er co-creation of national orchestral music, Guangdong Chaozhou folk tones is the main material of the music. In 1960, Peng Xiuwen according to the actual situation, the preparatio

3、n of the orchestra system. The music is full of national colors, showing a significant five-tone melody, free mode into the fifth degree, the rhythm suitable for playing a lightweight plucked instrument, d</p><

4、;p>　　"Caiyun chase" in the "color" that color, means that the night sky is not too dark, there is the sun's rhyme, and clear and clear. "Chase" the word to make the picture more dynam

5、ic, although hazy but with vitality. Showing the night, the clouds and the moon to catch up with the aesthetic feeling. Piano is a beautiful melody. Not only the national style, but also contains the modern Western flavo

6、r, loved by Chinese and foreign music lovers, perhaps it is the kind of leisurely charm, so that the p</p><p>　　鋼琴曲《彩云追月》的藝術(shù)特征</p><p>　　作者：約翰·喬 翻譯：張倩</p><p>　　《彩云追月》是 20

7、 世紀(jì) 30 年代任光擔(dān)任上海百代唱片公司節(jié)目部主任時(shí)和聶耳共同創(chuàng)作的民族管弦樂(lè)曲，廣東潮州的民間音調(diào)是該樂(lè)曲的主要素材。1960 年，彭修文根據(jù)實(shí)際情況，改編管弦樂(lè)團(tuán)編制。樂(lè)曲富有民族色彩，呈現(xiàn)出顯著的五聲性旋律，自由模進(jìn)為上五度，節(jié)奏適宜彈奏輕巧的彈撥樂(lè)器，描述了迷人以及浩瀚的星空，王建中于1975 年將其改編成鋼琴曲。</p><p>　　《彩云追月》中之“彩”表示顏色，意味著此時(shí)的夜空不是太黑，存有太陽(yáng)的

8、余韻，且清澈明了?！白贰弊肿尞?huà)面更具動(dòng)感，雖然朦朧但具有生機(jī)。呈現(xiàn)了夜幕下，云和月相互追趕的唯美感覺(jué)。鋼琴曲優(yōu)美富有旋律。不僅有民族風(fēng)格，還蘊(yùn)含西方現(xiàn)代氣息，深受中外音樂(lè)愛(ài)好者的喜愛(ài)，也許正是那種悠然自得的韻味，讓此鋼琴曲富有親切感和生命氣息。該鋼琴曲介于大雅和俗之間，不僅古典而且通俗，聽(tīng)眾聽(tīng)完后喜愛(ài)有加，不管是專(zhuān)業(yè)認(rèn)識(shí)還是普通大眾都會(huì)有上述感覺(jué)。第 5 小節(jié)使用的表現(xiàn)手法為托卡塔式，進(jìn)入的時(shí)候使用的是重復(fù)的五聲音階，左手單音，右手八度

9、迅速結(jié)合顫音，對(duì)我國(guó)的彈撥樂(lè)器進(jìn)行模仿，節(jié)奏輕快緩急，描繪了一幅唯美的月光畫(huà)面 。</p><p>　　The four parallel sections form the expansion, and all the notes appear in the treble area. The first and second phrases imitate the crisp and bright sound

10、of the flute, and the left hand is used as the accompaniment. The third phrase and the first phrase is very similar, down eight degrees of the sound area, and the treble area played on the tone compared to the bass area

11、has obvious differences in color, intensity, emotional contrast is very strong. Left hand on the melody of the line, the rig</p><p>　　Opening is the continuation of the presentation department, muddy into a

12、smooth music . Third, the reproduction department. The reproduction department extends the presentation of another different emotion, the melody also changes, becomes octave, progressive, up and down, parallel is its way

13、. This part of the performance of the emotional and presentation of different, high emotions, irresistible. Section 58 to 71 is the end, and the primer is almost the same. Sections 58, 59 and 60, 61 are two </p>&

14、lt;p>　　四個(gè)平行樂(lè)段組成了展開(kāi)部，所有的音符都在高音區(qū)出現(xiàn)，第一和第二樂(lè)句是對(duì)笛子清脆而明亮的音色進(jìn)行模仿，左手作為伴奏織體使用的是分解和弦。第三樂(lè)句和第一樂(lè)句非常的相似，降了八個(gè)度的音區(qū)，和高音區(qū)上演奏的音色相比低音區(qū)有明顯的差別，色彩、強(qiáng)度、情感的對(duì)比性很強(qiáng)。左手對(duì)旋律行進(jìn)突出，右手起到伴奏的，使用的是五音階向上。第四樂(lè)句是對(duì)第二樂(lè)句的繼續(xù)，旋律織體增加，不再是單音而變成和弦，力度也隨之加強(qiáng)，感情也不斷地上升。伴奏織體使

15、用的是五行音節(jié)下行流動(dòng)。但就旋律來(lái)講，整個(gè)展</p><p>　　開(kāi)部是對(duì)呈現(xiàn)部的延續(xù)，渾成一曲流暢的音樂(lè).第三，再現(xiàn)部。再現(xiàn)部延伸了呈示部又一個(gè)不同的情感，旋律也有所改變，成為八度，級(jí)進(jìn)、上下行、平行是其進(jìn)行方式。這部分表現(xiàn)的情感和呈示部不同，情緒高漲，不可阻擋。第 58 至 71 小節(jié)是尾聲，和引子差不多。第 58、59 小節(jié)和 60、61 小節(jié)是兩個(gè)對(duì)比的樂(lè)句，一個(gè)在高音區(qū)，一個(gè)在低音區(qū)恰似月與云的對(duì)話(huà)。6

16、2 節(jié)直到結(jié)束時(shí)，和引子基本相同，有結(jié)束的感覺(jué)。最后結(jié)束的是一組琶音，最后的一個(gè)音要左右手交叉彈奏，且不能有停頓，節(jié)奏不均勻的情況更不能出現(xiàn)［3］ 。呈示段是 10 ～ 19 小節(jié)，呈示段為單音斷且是三句式。10、11 小節(jié)和第一樂(lè)句的開(kāi)始，順其自然地進(jìn)入呈示段回。開(kāi)始徵音，右手和左手一起對(duì)彈撥樂(lè)器的音色進(jìn)行模仿，把輕盈的伴奏加入第四拍長(zhǎng)音中對(duì)其進(jìn)行填充，讓音樂(lè)變得更加豐滿(mǎn)。第13 ～ 第 15 小節(jié)為第二樂(lè)句，把裝飾音巧妙地融入進(jìn)去.

17、</p><p>　　Second, the theme line and multi-part body. One is dependent type. The relationship between the parts is dependent and attached, which is known as the main part of the Department of these parts pla

18、y a leading role in the parallel and parallel chords exist in the main part and other parts. Their independence is not strong, but attached to the main part and closely follow it. Second, contrast type. If the binding re

19、lationship in each part of the dependency is emphasized, then the contrast is empha</p><p>　　主題線條與多聲部織體。一是依附型。各聲部之間的關(guān)系是依附和被依附，其中被稱(chēng)為主聲部的是這些聲部中起主導(dǎo)作用的，平行音和平行和弦存在于主聲部與其他各聲部中。它們的獨(dú)立性不強(qiáng)，而是依附于主聲部并緊緊跟隨著它。二是對(duì)比型。如果說(shuō)依附型

20、里的各聲部強(qiáng)調(diào)的結(jié)合關(guān)系為同一性，那么對(duì)比性則是該類(lèi)型強(qiáng)調(diào)的，對(duì)比性是由許多因素造成的，如聲部趨勢(shì)的對(duì)比、音色音區(qū)的對(duì)比，速度、強(qiáng)度的對(duì)比等。它的表現(xiàn)形式主要有:第一，方向?qū)Ρ?。?dāng)兩線為反向運(yùn)動(dòng)時(shí)，其距離較大，也具有較強(qiáng)的動(dòng)感。要是嚴(yán)格執(zhí)行平行和弦法進(jìn)行反向運(yùn)動(dòng)，未免顯得呆板不具有活力。因此，可以采取更為靈活的方法，即兩條相互結(jié)合的線進(jìn)行模糊的反向運(yùn)動(dòng)。以此為前提，要更多地考慮縱向的效果，讓它的結(jié)構(gòu)邏輯性更加符合，聲音更加協(xié)調(diào)飽滿(mǎn)。第二

21、，層次比較。一般的音樂(lè)作品中的層次性變化很強(qiáng)，層次的形成被各樣的音樂(lè)元素直接影響著。第三，復(fù)調(diào)。一是兩者是獨(dú)立的旋律線，但它們的旋律和節(jié)奏的活動(dòng)是不一樣的。下層旋律明顯高于上層旋律。相對(duì)而言，上層旋律是非動(dòng)態(tài)的，下層旋律是非靜態(tài)的。例如:展開(kāi)部中的 30 至 33 小節(jié)，右手伴奏的音色是對(duì)古箏的模仿，左手旋律，讓曲子的旋律在不同的</p><p>　　The section of the accompanimen

22、t of the left part of the accompaniment and the prelude part of the same, column chord, in order to highlight the main melody slowly flow and development. This section is divided into three phrases, the theme phrase for

23、the fifth, six sections, the Ministry of melody from the sound began to press the five steps up the level of progressive, wave-like boost to carry out, like the description of the cloud and the month began to chase. Whis