音乐表演中的意境

音乐表演中的意境[摘要] 在进行音乐表演时，对意境的联想是非常重要的。

意境就像是音乐的灵魂，意境越深，创作出的音乐就越形象、贴切。

无论是轻音乐、摇滚乐、民乐或其它音乐体裁，意境都是举足轻重不可或缺的。

如果一个音乐没有意境，必定是枯燥乏味、难以流传的。

在音乐表演中，古今中外的音乐创作者都很重视意境的作用，有不少经典的例子可以证明。

我相信，将有越来越多的音乐表演者关注它、重视它。

[关键词] 意境想象音乐体裁虚实情景提到意境，有很多种说法。

古人认为它是儒道合流的产物，认为它源自禅宗。

总之，意境学说是我国传统美学理论的重要组成部分。

音乐表演是一个过程，而意境就存在于这一过程之中。

音乐家头脑中的形象思维的境界是意境、音乐作品中体现出来的精神境界是意境、欣赏者头脑反映出来的精神境界也是意境。

音乐作品中的意境不等同于表演者或欣赏者头脑中的意境，主客体之间可能一致也可能不一致，此所谓仁者见仁、智者见智。

在整个音乐表演的过程中，存在着三个环节，两个中介：第一个环节是“读谱”。

演奏者面对乐谱，研读所有的符号，它们都是信息内涵的载体，它们作为一个整体成为演奏者的对象，其存在特点为“眼中的符号”。

演奏者对音乐符号的认识就是对信息译码的开始；第二个环节是“同化”。

人们观察任何对象，都不可能是纯客观的，尤其是对于精神产物更是如此，客观意境必然是通过演奏者的主观理解即译码来反映，其存在特点是“心中之音响”，它作为审美对象存在于演奏者的内心听觉之中，这意味着作品中的意境与演奏者的主体所创造出来的意境；第三个环节是“表现”。

演奏者心中的音响在这里转化为手中的音乐，其存在的特点是“现实的音响”，这更是创造的结果，即由演奏者心中的意境转化为生动的音乐所揭示的意境。

在这三个环节中，发生了两次飞跃，从作品的意境到演奏者心中之音响是第一次飞跃，再到现实的音响的转化是第二次飞跃，这两次飞跃都是在主客体相互作用的过程中实现的。

但是，“仅仅‘相互作用’空洞无折，需要由中介。

”是必需讨论的问题。

生活现实由作品的意境到演奏者心中的意境的飞跃，需要两种工作，可以称之为“野外工作”与“案头工作”。

野外工作指的是毛泽东《在延安文艺座谈会上的讲话》中一再强调的“深入生活”，只有深入生活，才能积累经验；案头工作则指的是分析音乐作品。

音乐是可知的，音乐语言具有“主体间性”，能够进入意识交流过程。

但是这个“可知”是有前提的，费尔巴哈说过“情感只对情感说话”。

同样的道理，体验只对体验说话，语言也只对掌握语言的人讲话，音乐语言也只对掌握音乐语言的人讲话，积累经验、掌握音乐语言，就是现实从作品中的意境向演奏者心中的意境转化的中介。

《月的悲吟》，这首诗以拟人的手法表达月亮对人间的相思，也描绘了月亮清冷萧瑟的意境。

在这首作品中，表现出演奏者对中国艺术意境创造的理解与感悟，体现出演奏者对中国艺术意境“实虚相生”这一表达手法的具体运用。

乐曲《月的悲吟》所创造的月色朦胧，秋风萧瑟的意境，是作者力求用音乐来表现宗百华先生“是以非模仿自然的境相来表现人心中最深的不可名的意境”，“有形和无形、虚和实的融为一体恰喻是中国艺术意境创造的基本方法”，而要准确体现出原诗的意境，则需要以一定的作曲技法、演奏技巧来表达。

换言之，艺术作品的内蕴是要靠“技”来体现，因意生技、因情生技，通过“技”与“道”的融洽无间，创造出深邃的意境。

所以，《月的悲吟》采用有调性与模糊调性相结合的旋律音调、新颖的和声模式，以及双音、泛音的演奏技术，准确而生动地表现出月的相思、悲寂、柔美的情意，那夜幕下的萧瑟，乐曲高潮处震撼人心的复杂音响，表现出古代文人心灵的颤动，内心深入的嘶喊……这些都被演奏者用其独特的创作手法及特殊风格的“吟、猱、淖、注”技法表现的淋漓尽致。

《月的悲吟》引用宗百华先生的解释：“缠绵悱恻，才能一往情深，深入万物的核心。

超旷空灵，才能如镜中月、水中花，羚羊挂角，无迹可寻”。

乐曲《月中悲吟》不仅从宗百华先生原诗中汲取了创作灵感，从乐曲中我们还能感受到宗百华先生关于意境现今对任教的影响，在乐曲意境表现上哀怨悱恻和超旷空灵是一个重要的意境表现理念。

在《月的悲吟》这首音乐作品中，我们还可以感受到中国传统艺术意境之“气”的奥妙。

中国艺术意境创造中，“气”是一个不可缺少的范畴，“气”包含观念、感情、想象力等艺术家所具有的气质、个性和艺术修养。

在乐曲中，那虚实相生的精神之气，体现出胡志平教授的一贯追求。

在没有固定节奏的音与音之间的节奏处理，无固定音高的双音及下滑式上扬音，部分音与音之间的长短、句与句之间的气息间隔处等等，都随着情感的变化而随意流动；独奏与小民乐队伴奏在节奏框架中的气息处理，没有固定的模式，而是随着“意境”表现的需要，较自由地然而又是有规可循地变化发展，一张一弛，气息微妙。

读完《月的悲吟》，我可以感受到宗百华先生的原诗意境。

但是，原诗的意境在我脑海中的印象较为淡薄，而更多的是通过音乐创造出新颖的、生动的音乐艺术意境。

它源泉于宗百华先生的诗，但绝不同于原诗，更多的是体现了曲任教由宗百华先生诗意所引发的联想，体现了曲任教自己对中国艺术精神的一种领悟，一种感受。

它更充分地发挥音乐这种特殊的以音响为物质媒介来创造艺术形象的方法，来表达中国艺术精神的“神韵”，通过乐曲在时间中的不断展示，表现出月的柔美，夜的萧瑟，以及古代文人心灵上的孤寂、颤动的抗争；通过那“静谧”、盗伐林木而激烈的意绪，在连绵而清晰的行音中，既有理想的深刻，又有超越时空的意识流般的感情体现，表达出作者对美的思索和对艺术理念的追求。

我认为音乐中的意境，源自于演奏者的想象，而想象又源自于人的“心”，心乃是小宇宙，是人的思想、幻想、想象所能自由翱翔的唯一天地。

庄子思想中最引人入胜的就是“逍遥游”，亦即“游心”，因为，能够在想象的广袤天地里自由驰骋。

个人可能有个人的想象，所产生的意境也大相径庭，这绝不可能有统一的规定，每个人的习惯也不同，有的演奏者喜欢在演奏的同时，心中出现某些具象的联想；有的却不习惯或不愿意想象，他们只专注于音乐本身所造就的意境之中，感受这个意境在心灵中引起的感应。

按照庄子的说法，“心游”亦即“逍遥游”，乃心灵在想象中自由翱翔。

必须“外动内静”，专注于内心的宁静，保持内心的平和，只有这样，才能做到心灵的自由。

倘若心灵随肌体的运动而浮动，不但不能达到自由的想象与神弛，反面会由于心浮神躁而破坏音乐的意境。

“心境如水”与“心游似鹏”是对立统一、相辅相成的，只有静心，才能游心，在心境保质宁静的条件下，思绪纷飞，遐想联篇，必将给音乐带来无限生机，音乐的内涵与意境自然而然的就会形成。

参考文献：[1] 于润洋，吴斌《音乐研究》，2004年第1期(总第112期).[2] 傅建生主编《中国二胡》，中国音乐家协会二胡学会，湖南文艺出版社，2003年，第24～30页.both western and chinese people have two kinds of personal names-a surname and a given name. but the order and the use of these names in the two languages are somewhat different. in chinese, the surname comes first and then the given name,and people like add xiao (小)in front of their family name. such as xiao wang xiao zheng, xiao li ,xiao yu.(小王,小李,小余)and so on. while westerners names are written and spoken with the given name first and the family name last. so john smith’s family name is smith, not john. in a formal setting, address men as “mister” (abbreviated as “mr.”), married women as “misses”(abbreviated as “mrs.”), and unmarried women as “miss” (abbreviated as “ms.”). these days many women prefer to be addressed using the abbreviations “ms.”or “m.”, pronounced “miz”. if the person has an m.d. or ph.d., they will often be addressed as “doctor”(abbreviated as “dr.”). faculty is addressed as “professor” (abbreviated as “prof.”). in an informal situation, westerners will introduce each other by first name, without titles, and occasionally by just the last name. if you are introduced to somebody by first name, you can address him or her by first name the next time you meet. the only exception would be for someone who holds an important position, such as the university president or provost. unless they tell you otherwise, faculty should be addressed using their title and last name (e.g., “professor smith”). when in doubt, use the formal manner of address, since it is better to err onthe side of formality. it is also appropriate to ask how they prefer to be addressed. children should always address adults in the formal fashion, using their title and last name. responses to compliments, apologies and thanks.to compliment is to praise the addressee’s virtues, ability, behavior, appearance, clothing, personality and belongs. appropriate compliments can serve as effective supplementary means in inter-personal communication. western and chinese culture are at polar opposites about compliment. an western hostess, if she is complimented for her cooking skill, is likely to say,” oh, i am so glad that you liked it. i cook it especially for you.” not so is a chinese hostess, who will instead apologize for giving you “nothing”. they will say sui bian zuo ji ge cai ,bu hao chi (随便作几个菜，不好吃 ).if translate this into english” i just made some dishes casually and they are not very tasty. perhaps the foreigner will think why you invite me to you family and have the untasty food. you aren’t respect me. the english-speaking people are more active to praise others and to be praise than chinese people. for example, the americans are “straight forwardness”, the chinese take pride in “modes that modesty has left many a chinese hungry at an americans table, for chinese politenesscalls for three refusals before one accepts an offer and the americans hosts take ”no ”to mean “no ”, whether it is the first, second or third time. still bigger differences exist in people’s attitude towards compliments, i.e., in the response to compliments. chinese are tend to efface themselves in words or refuse it, although they do feel comfortable about the compliments. so many westerners simply feel puzzled or even upset when their chinese friends refused their compliments. the chinese people are not intending to be modest with the sacrifice of friendship in so doing, but it is rather due to the traditional chinese philosophy, that of modesty.if wrong things are done, there must be apologies .as to how to offer apologies, both western and chinese people may “i am sorry….”, “i apologize for…” etc. but chinese would like to apologize for the crowded state of their dwellings and for small numbers of dishes, although the room is big enough and there are many dishes. chinese stay these to express self-depreciation only out of courtesy, not having other implication. but the westerners would wonder, since the room is so large and there are so many dishes, why do theysay so. may be they do not welcome our visit; they don’t like us to eat more.a: oh, i’m sorry. i forget it./ b1: it doesn’t matter./ b2: that’s all right.b2 is westerners. b1 is a chinese person. “it doesn’t’t matter” is a translation ofmei guan xi(没关系)from chinese, which is a common pattern in chinese to respond to apologies. if a chinese uses this to respond to apologies, westerners will think that he is a sharp person, who simply cannot forgive a very little wrong thing.“thank you” is widely used in english to show gratitude in such cases as being invited, helped, given a gift, etc. cultural differences exist between chinese and western in how to express thanks and responses. in fact, “thank you” is uttered in english for more than acknowledging favor or gratitude, and it is often a means to show politeness. on many occasions, the english use this utterance while the chinese may say you lao nin le (有劳您了).or do not say a word at all but just smile or nod. as a matter of fact, “thank you ”is used more widely by westerners than chinese use xie xie(谢谢), for minor favors like borrowing pencil , asking directions, requesting someone to pass on a message ,receiving a telephone, etc. “thank you” not only shows politeness but also carries a person’s grateful feeling for those who offer help.3. differences in cross-cultural communication and business englishcommunication stylesthe way people communicate varies widely between, and even within, cultures. one aspect of communication style is language usage. across cultures, some words and phrases are used in different ways. for example, even in countries that share the english language, the meaning of “yes” varies from “maybe, i’ll consider it” to “definitely so,” with many shades in between.another major aspect of communication style is the degree of importance given to non-verbal communication. non-verbal communication includes not only facial expressions and gestures; it also involves seating arrangements, personal distance, and sense of time. in addition, different norms regarding the appropriate degree of assertiveness in communicating can add to cultural misunderstandings. for instance, some white americans typically consider raised voices to be a sign that a fight has begun, while some black,jewish and italian americans often feel that an increase in volume is a sign of an exciting conversation among friends. thus, some white americans may react with greater alarm to a loud discussion than would members of some american ethnic or non-white racial groups.approaches to completing tasksfrom culture to culture, there are different ways that people move toward completing tasks. some reasons include different access to resources; different judgments of the rewards associated with task completion, different notions of time, and varied ideas about how relationship-building and task-oriented work should go together. when it comes to working together effectively on a task, cultures differ with respect to the importance placed on establishing relationships early on in the collaboration. a case in point, asian and hispanic cultures tend to attach more value to developing relationships at the beginning of a shared project and more emphasis on task completion toward the end as compared with european-americans. european-americans tend to focus immediately on the task at hand, and let relationships develop as they work on the task. this does not mean thatpeople from any one of these cultural backgrounds are more or less committed to accomplishing the task, or value relationships more or less; it means they may pursue them differently. the united kingdom is a nation of cultural and ethnic diversity consisting of four countries each with a clear identity: england, scotland, wales and northern ireland.a thoroughly multicultural society, the uk continues to blend its rich cultural heritage with a modern and innovative outlook. knowledge and an appreciation of the basic cultural, ethical and business values of the uk is crucial to any organization wanting to conduct business in such a varied yet traditional country. humor - a vital element in all aspects of british life and culture is the renowned british sense of humor. the importance of humor in all situations, including business contexts, cannot be overestimated.4. conclusionthe writer has discussed the awareness of cultures influence the cross--cultural communication in business english business. with different context chinese and western cultures, the speaker would consider this point to communicate each other, and respect the natural different between two sides of cultures, and build up the reasonablecommunication based on it.bibliography：[1] robert n. bellah and others, habits of the heart: individualism and commitment in american life new york: harper & row, publishers, 1985.[2] samovar, l.a., et al. communication between cultures beijing: foreign language teaching and research press,2004.[3] todd, lorento, et al the international english usage croom helm ltd., 1986.[4] wallace e. adams and others, eds., the western world to 1770, i new york: dodd, mead and company,1968.。