郭文景竹笛作品中的大量演奏法创新和重构,拓展了竹笛的音乐性格和情感表达。演奏法作为音乐叙事的行为者,通过特定技法推进情节发展,以特定音响形态承载象征意义,并参与构建音乐叙事进程。文章以郭文景《愁空山》《竹枝词》《野火》为研究对象,从叙事层面探究竹笛演奏法作为叙事行为者的可能性,并分析其形态的构建方式,揭示其推动音乐叙事进程的结构逻辑。在“技法—叙事”框架下,竹笛演奏法由被动表达转向主动叙事,建构具有内在逻辑的叙事语法,进而呈现出具有独特文化意涵的音乐叙事效果。

The extensive innovation and reconstruction of performance techniques in GUO Wenjing's bamboo flute works have expanded the musical character and emotional expression of the instrument. As actors in musical narrative, performance techniques propel plot development through specific technical devices, carry symbolic meaning via particular sonic forms, and actively participate in constructing the narrative process. Focusing on GUO Wenjing's Chou Kong Shan, Zhu Zhi Ci, and Ye Huo, this article explores the potential of bamboo flute performance techniques to function as narrative actors, analyzes the ways in which their forms are constructed, and reveals the structural logic that drives the musical narrative forward. Within the “technique-narrative” framework, bamboo flute performance techniques shift from passive expression to active narration, establishing an internally coherent narrative grammar and thereby producing musical narrative effects imbued with distinctive cultural significance.