(B) The concrete embodiment of the artist's aesthetic consciousness in the opera "White-haired Girl"
As a reflection of reality, artistic beauty is the product of artists' creative labor, which is more concentrated and typical than the beauty in real life and can better meet people's aesthetic needs. The opera White-haired Girl was created by Lu Yi workers in Yan 'an: the poet Shao Zinan wrote a draft, which was later rewritten by He Jingzhi, and the last scene of the last scene was written by Yi Ding. Kyle, Zhang Lu, Qu Wei, Li Huanzhi, Xiang Ou, Chen Zi and Liu Chi compose music. From the winter solstice of 1944 to April of 1945, it premiered in April of 1945 after three months of hard work. Since then, his plays and music have been revised many times.
The concrete embodiment of the audience's aesthetic consciousness in the opera "White-haired Girl"
Appreciators appreciate music works, which is the process that the object of works triggers the creation of aesthetic subjects, which also determines that the activities of aesthetic subjects of works should be based on works, and on this basis, they should mobilize their emotions and thinking, as well as the accumulation of cultural literacy and aesthetic experience, and actively create new aesthetic images. When appreciating, the appreciator takes the sound as the object, and on the basis of his own appreciation experience, he feels the artistic image in music subjectively, thus producing the yearning for beautiful things.
In the musical fragment "The Sun Comes Out" of the opera "The White-haired Girl" (see the score example 1), the viewer's body will produce rhythm with the fluctuation of the melody, forming an "imitation" behavior. This conscious "imitation" behavior is not only a physiological side effect, but also actively participates in aesthetic consciousness activities and creates aesthetic consciousness, which exists in the rhythm of both the brain and the human body. This chorus draws lessons from the tones of the labor bugle in Guanzhong area and the northern Shaanxi suona qupai, and is adapted from the northern Shaanxi suona qupai "Big Pendulum" (score example ②) and "Shake the bugle" (score example ③), which is rigorous in structure and magnificent in spirit. First, the lead singer sings a broad and solemn theme, and the chorus responds immediately. The theme of the lead singer moved up four degrees, and the range was extended to the second group of small words. The voice is loud and full, fully rendering the magnificent scene of the rising of the red sun and the happy scene of the people turning over. Later, he turned to chorus and sang the profound philosophy that "the old society turned people into ghosts, and the new society turned ghosts into people."