中央音乐学院音乐论坛讲座学者及音乐会介绍

　　周勤如 博士 Dr. ZHOU Qinru

　　学术报告时间：11月13日 16:00—17:30 地点：501

　　Lecture 13th Nov. 16:00—17:30 Location: 501

　　作品分析大师班：11月13日 19:30 地点：617

　　Master class

　　of Music analysis 13th Nov. 19:30 Location: 617

　　周勤如，音乐哲学博士，旅美中国音乐家、编辑、教师。中央音乐学院作曲系83届毕业，留校教作品分析。85年在国内首开“二十世纪音乐分析方法”大课。86年发表论文《当代音乐分析学进展的一般倾向》，首次提出并界定“音乐分析学”概念和论述音乐分析的“时间、张力、纵深”三维观念。87年发表论文《音乐深层结构的简化还原分析—申克分析法评介》, 提出“深层结构”等中文概念。86年赴美攻读博士学位，主修作曲，兼修西方音乐理论史及音乐民族学。96年在加大洛杉矶分校完成博士论文，含《交响叙事曲》总谱和专著《黛敏郎〈涅盘交响曲〉结构中的辩证观念——当代东亚作曲家思维特点的个案研究》。

　　1996年4月起在美国创办“音乐中国”学社并筹办以翻译发表中国音乐文论为特色的《音乐中国》英文学报。99年秋创刊号发行，共出版四卷六期，通过认真的筛选、加工和译注，向海外介绍了数十篇中国音乐学术成果和参考数据，订户包括美、加、英、法、港、澳和中国大陆著名大学和大都会图书馆。

　　为推动中国音乐学术科学化建设，从1997年起，连续在国内发表《研究中国音乐基本理论需要科学的态度》、《音乐批评学我见》、《提高音乐学术水平的关键在于研究过程的科学化》和《多元语境下音乐评论的客观性》等系列文章、通信，其中诸多建设性意见已被国内音乐学术界讨论、接纳和大量引用，有些文章成为国内音乐院校研究生教学参考文献。

　　ZHOU Qinru, Ph.D. in Music, American-based Chinese musician, editor, and teacher. Graduated from the Central Conservatory of Music Beijing in 1983, he joined the faculty there to teach music analysis. A new curriculum on “Twentieth-Century Music Analysis” was initiated first time in China by him two years later. In sequence, he published two papers: “The Recent Trends of Music Analytics” (1986) and “The Reductive Analysis of the Inner Layers of Music: A Critical Introduction of Schenkerian Analysis” (1987). The former puts forwards and defines the term “music analytics” and explains the three analytical dimensions of “time, tension, and depth,” while the latter suggests some Chinese translations of Schenkerian terminology. In 1986, he went to the United States for pursuing graduate degree, majoring in Composition with the emphasized studies of the history of western music theory and ethnomusicology. In 1996, he graduated from UCLA with the dissertation, including a score Symphonic Ballad for orchestra and a monograph The Dialectical Conception in Toshiro Mayuzumi’s Nirvana Symphony -A Sample for Studying the Thinking Characteristics of East Asian Contemporary Composers.

　　In April 1996, he began to prepare the foundation of Music in China, an independent research center, with the Journal of Music in China, which was featured by the English translation of selected Chinese music literature. The journal was launched in fall 1999 and lasted four volumes in six issues. By strict selection, revising with the authors, and translation with annotations, it introduced several tens of Chinese musical papers and other references to the Western world. Subscribers included the libraries of leading universities and metropolises in the United States, Canada, England, France, Hong Kong, Macao, and China.

　　In order to propel the development of academic research in Chinese music, since 1997, he has published a series of papers or correspondences, including “Scientific Approach: the Only Way to Study Fundamental Theories of Chinese Music,” “My View of Music Criticism,” “Conducting the Learning Course in a Scientific Way: A Key for Achieving the High Standards of the Academic Research in Music,” “The Objectiveness of Music Review in Multiple Thinking Environments,” and others. Many opinions in these writings have been discussed, accepted, and frequently quoted. Some articles have been listed in the required readings to graduate students by musical colleges and departments in China.

　　讲座题目：对二十世纪西方音乐创作中“帕格尼尼”现象的分析与思考

　　提要：

　　帕格尼尼《a小调第24小提琴随想曲》在十九世纪曾引起舒曼、李斯特、勃拉姆斯等作曲家狂热的改编，而在二十世纪加入这一行列的作曲家有增无已，从拉赫玛尼诺夫、席马诺夫斯基、鲁托斯拉夫斯基、柯达伊、达拉皮科拉直至二十一世纪初都有人在不断地用自己的创造演绎着这个主题。这就形成了一个值得研究的现象：究竟是什么内力驱动着那么多人在一首已经完美无暇的旋律上继续创造？这些后人是用什么样的理念、风格和技术手段演绎这个主题的？效果如何？对我们有什么启示？讲座拟首先以重点描述的方式通观这一现象的概貌，然后阐述对上述既关乎音乐学也关乎作曲技术理论的问题的基本分析和思考。

　　Topic: Paganini Phenomenon in the 20th-century Western Music Creation: An Analytical Review

　　Abstract:

　　The Caprice No. 24 in A-minor for violin by Paganini was enthusiastically used as a theme by Schumann, Liszt, Brahms, and other 19th-century composers. Through the 20th century until the beginning of the 21st century, more and more composers, from Szymanowski, Rachmaninov, Lutoslawski, Kodály, Dallapiccola to our contemporaries, joined the ranks to continue the elaborations of the theme with their creations. Hence, a phenomenon is formed for further studies: What is the internal motivation that has driven such a large number of composers working on a complete theme ceaselessly? How did the subsequent composers elaborate this theme with their own ideas, styles, and techniques? What are the resultant effects of their practices? What kind of inspiration can we draw? Begun with a highlight of the phenomenon, the speech will give brief analyses of selected works as well as discussions on related issues, which regard both musicology and the theory of compositional technique.