古筝重奏 Guzheng Ensemble：GURU - 邓海琼作曲 Composed by Haiqiong Deng скачать в хорошем качестве

古筝重奏 Guzheng Ensemble：GURU - 邓海琼作曲 Composed by Haiqiong Deng

《GURU》 作曲：邓海琼 (2020) GURU在印度语言中是老师的意思。这首根据印度古典音乐语言而写的作品是作者献给她的两个老师：古筝演奏家尹群女士和印度西塔琴演奏家Nalini Vinayak。作者十二岁便随尹群老师学习古筝。三十多年师生情不减，亦师亦友。尹群老师最初提出写一首印度音乐风格的古筝重奏作品来反映新加坡多元种族文化的互相融合和创新。而作者多年与Nalini Vinayak的印度音乐学习和古筝的专业背景正好契合了这样的构想。在新加坡艺术理事会的资金支持下，尹群老师和她的学生善汇，怡雯，以及Tabla鼓手Lalit成功的录制并发行了这首委约作品。 作者对印度古典音乐的兴趣最初源自在美国佛罗里达州立大学攻读音乐学研究生博士时对世界音乐的学习。从2003年起，作者开始和Nalini通过传统口传心授的方式学习印度古典音乐的学习。Nalini的学派，the Maihar Gharana，可追溯到印度音乐大师拉维·香卡。 与此同时，Nalini从小家庭里南印度音乐的熏陶和她对印度Tabla鼓的精通，形成了自己独特的语言。在作者近二十年耳濡目染的学习中， Nalini带领作者系统的领会了印度音乐中不同音阶（Raga）的色彩，微妙的滑音，丰富的节奏变化，和特有的即兴语言。这首作品忠实的反映了Nalini的音乐语汇。作者选择了充满喜乐和幸福之感的的音阶raga Hamsadhvani（文字意义：“天鹅之歌”）。 通常这个raga用在音乐会的开始寓意一个充满喜乐的音乐之旅。作者用了16拍的teentaal节奏和严谨的节奏循环运算。整个乐曲也沿袭了古典印度曲式结构： the alaap （引子），jod (进板)， gat (主旋律),，sawal jawab (问答) ，和tihais (节奏圈)。Tanpura (坦普拉) 和 Tabla（印度鼓）的应用沿习了传统印度音乐的组合方式。这首作品也同时体现了多元文化的互相碰撞与世界音乐的交融。 重奏：尹群 郑怡雯 陈善汇 打击乐：Lalit Kumar Ganesh “GURU” Composed by Haiqiong Deng (2020) In Indian culture, Guru means teacher, mentor, or guide and Shishya means disciple. This piece celebrates two precious Guru-Shishya relationships: the one with the Master Chinese Guzheng player, Yin Qun and another with the Master Indian Sitarist Nalini Vinayak. This piece is dedicated to these two gurus. The composer started her apprenticeship with Master Yin when she was twelve, and they have grown a strong teacher-disciple-friend relationship over the last three-decades. Master Yin initiated the original idea of an Indian music style composition to celebrate the diversity and unity of the multi-cultures in Singapore. With the funding support by the Singapore National Arts Council, Master Yin commissioned and premiered “GURU” with her two outstanding students, Shanhui and Yiwen, and Tablaist Lalit. To the composer, this piece is a crystallization of a personal cross-cultural life journey. The interest of classical Indian music was kindled during the composer’s graduate study of ethnomusicology at the Florida State University. Since 2003, the composer has started her learning with Guru Nalini, who systematically brought the composer into the world of classical Indian music. Guru Nalini Vinayak is the direct descendent from the Maihar Gharana, a school lineage that can be traced back to Nalini’s teacher, Pandit Janardan Mitta, the disciple of Pandit Ravi Shankar. Nalini’s deep Carnatic classical Indian music upbringing and her mastering of Tabla have given her music a distinct style, which is faithfully reflected in this composition, although performed by the Chinese Guzheng. Following the aural-oral traditional learning, Guru Nalini patiently expounds this wonders of raga, intricate expressions, rhythmic variations, and the improvisational art in this ancient musical tradition to the composer. They have explored the similarities, such as the use of gamakas (bending notes), and differences, such as the nature of the instruments, between the Sitar and the Guzheng. In this composition, the composer choses the pentatonic raga Hamsadhvani (literally means “the cry of the swan”), an auspicious and joyful raga often used as an opening scale in a concert to express her joy and blessing bequeathed by these two gurus. She adopts the 16-beat teentaal and the rhythmic patterns are mathematically calculated. The composition includes the alaap (opening section), jod (establishing rhythm), gat (fixed composition), sawal jawab (questions and answer) sections and complex tihais (rhythmic sequence). The use of the Tanpura and the Tabla connects to the traditional part of classical Indian music ensemble. Besides personal dedication, this piece also celebrates cross-pollination on cultural diversity, music creativity, and human connections. Performed by Yin Qun, Yvonne Tay, Chen Shanhui Indra Percussionist: Lalit Kumar Ganesh