| As one of the representatives of the Chinese ethnic musical instruments,the bamboo flute has followed the "Tao" of heaven and earth in every evolution for thousands of years,and has presented its own value in various forms in different eras.Since modern times,influenced by the West,Chinese bamboo flute art has gradually transformed from a folk form to a professional form.In order to explore the artistic expression and various possibilities of Chinese bamboo flute on the contemporary stage,and create an academic platform for artists and scholars to experiment and practice,Zhang Weiliang,a professor from the Department of Chinese Music at the China Conservatory of Music,founded the Chinese Bamboo Flute Orchestra in 2012 with the strong support of the school and its team.This group is a new form of academic Chinese bamboo flute music club that emerged in professional music universities in China from the beginning of professional development of bamboo flute until the 21st century.After its establishment,the orchestra has been exploring and operating for over ten years,focusing on creation,performance,and teaching etc.The orchestra has also verified in practice the possibility of bamboo flute being presented in various forms in the form of flute music clubs and contemporary Chinese bamboo flute stage performances,which has profound significance in promoting the development of Chinese flute music and even folk instrumental art.Therefore,this paper mainly adopts the theory of "auto-ethnography of music" and"cultural grafting" as the research support,and takes the Chinese Bamboo Flute Orchestra as the core.It is divided into five chapters to elaborate:The first chapter mainly analyzes the historical reasons and missions of the Chinese Bamboo Flute Orchestra in the connection of time and space from the modern times,and combs in detail the practical achievements accumulated by the orchestra over the past decade;Chapter 2 takes Zhang Weiliang,the founder of the Chinese Bamboo Flute Orchestra,as the research object.Starting from his academic style and humanistic sentiment,it traces the origin and academic context of his personal and team’s contribution to the establishment and development of the orchestra;In Chapter 3,a selection of Heyin-Quben adapted from various classic melodies by the orchestra is taken as a case study,including traditional works of flute and flute solo,traditional works of ethnic instrument solo,folk songs and alley songs.An overview is given of the current interpretation and alternative interpretations presented through the newly edited Heyin function of flute music;In Chapter 4,based on the author’s personal experience in the practice of the Chinese bamboo flute orchestras over the past decade and accumulated through learning and research,this article discusses the enlightenment of the phenomenon of the Chinese bamboo flute orchestras on the development of Chinese flute art from the perspective of the disciplinary training advantages formed by the ensemble paradigm promoting the "harmony based music"of flute music,as well as the cultivation of stage performance ability and the expansion of comprehensive artistic practice ability in flute teaching;Chapter 5 takes the large-scale multimedia performance The Call of Ancient by the orchestra as an example to observe the mutual evidence of the "ancient and modern" and "Chinese and Western" aspects of Chinese flute art.Through an analysis of the trend of global music culture integration,and from the current market situation of China’s ethnic instrumental music industry and the possibility of seeking active breakthroughs,this chapter explores the cultural thinking of the development of Chinese flute art from a contemporary humanistic perspective. |
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