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近几年音乐界频频出现的“假唱”现象已经受到越来越多人的重视,然而“假唱”未绝“假弹”又起。据笔者调查,现代大中型晚会中所演出的传统器乐节目,(甚至居委会举办的社区演出)百分八十是事先录音,演出现场只是演员根据录音,做出演奏姿势,即所谓的“假弹”。众所周知,民族器乐的精髓在于其即兴性,由感而发,因人而异的演奏,如果只是单纯的追求晚会演出的现场效果,而采用录音等手段,必将使民族器乐失去原有的生命力。设想,如果传统器乐曲都是一成不变,千人一谱,那么听众仅需买一盘CD即可,现场演出完全没有意义。笔者呼吁,应立即停止“假弹”,提倡现场的即兴发挥,宏扬中华民族传统音乐的精髓,恢复传统音乐原本的面目。
In recent years, the phenomenon of “fake singing” frequently appearing in the music field has been paid more and more attention by people. However, “fake singing” is not yet launched yet. According to the author’s survey, 80% of the traditional instrumental music programs performed in modern large and medium-sized parties (or even neighborhood performances held by neighborhood committees) are recorded in advance. The performance site is only based on the recordings and the actors perform the playing posture. The so-called “ ”. As we all know, the essence of ethnic instrumental music lies in its improvisation, which is caused by a sense of emotion. Performing from one man to another, if only simply pursuing the live performance of the evening performance, and using means such as recording, will surely make the national instrumental music lose its original vitality . Imagine, if the traditional instruments are static, thousands of people a spectrum, then the audience can only buy a CD, the live show does not make sense. The author calls for the immediate halt of the “fake bomb” and the improvisation of the scene to promote the essence of traditional Chinese music and restore the original features of traditional music.