陈晓勇，作曲家，德国汉堡音乐与戏剧大学作曲教授，同时任教于上海和中央音乐学院，汉堡自由艺术院院士，全部作品由德国International Music Publisher Sikorski出版。1985年中央音乐学院毕业后四年师从Gy?rgy Ligeti ，作品上演于世界各国，与国际一流乐团与音乐家合作。他在创作上着重强调在深刻理解本土音乐、欧洲音乐及其文化，消化后更高层次上的新型音乐化组合，追求精神层次的文化认可，形式上新颖，却仍可感受到他的音乐与中国人文、思想紧密相关。极简方式和高度个性化音乐语汇是他的音乐风格的主要特征，追求音乐材料的理性与直觉之间的因果关系和两者之的并存的必要性。
Chen Xiaoyong, Composer, is a professor of composition in University of Music and Theatre Hamburg and a fellow of Freie Akademie der Künste Hamburg. He teaches in n both Shanghai Conservatory of Music and Central Conservatory of Music. All of his works were published by German International Music Publisher Sikorski and has been played all over the world. After graduating from Central Conservatory of Music in 1985, he became a student of Hungary composer Gy?rgy Ligeti and often cooperated with world-class orchestras and musicians. In musical innovation, he emphasizes on the in-depth and higher-level music combination after having a profound understanding of local, European music and their cultures, and pursues the cultural recognition in the mental way. Though in forms his works are original, we could still feel that they are closely connected with Chinese cultures and ideologies. He seeks for the simple and a high-level personalized musical vocabulary and pursues the cause-effect of the reason and intuition in musical materials and the necessity of coexistence between them.
“平行·交叉·汇流”
“Parallel, Cross and Convergence”
摘要：
音乐艺术是文化重要的组成部分，音乐的风格、流派、语汇与社会、思想、理念、哲学、美学有着必然的因果关系。
众所周知，第二次世界大战结束后，西方现代音乐的发展如火如荼。鉴于特殊的历史原因，中国在这个有激进特质的欧美音乐发展平行线上，走过了一段几乎丝毫不相干的道路。近40年前，现代音乐如潮水般涌入这个人口居世界之最，拥有几千年古代文明的大国，寂静被打破。
本次报告以作曲家的视角分析这段历史，同时围绕“跨文化”这一主题举例说明观点，提出阶段性的总结意见，表达对中国当代音乐创作的期待和研究方法的建议，以及对未来发展的设想。
Abstract:
Music is an important part of culture, the style, genre and vocabulary of music has a strong relationship with society, thought, concept, philosophy, aesthetics.
As we all know, after the World War II, the development of Western modern music was in full swing. In view of some historical reasons, China went through an almost irrelevant path compared with the parallel development of European and American music full of radical characteristics. About 40 years ago, modern music suddenly like an influx of water poured into China, the world’s most populated country with thousands of years of ancient civilization, and since then, peace here was entirely broken.
This lecture analyzes the history from the perspective of the composer and puts forward some concluding comments based on the theme of "cross-cultural" with examples, expresses the expectation for and research methods of Chinese contemporary music creation and also the thought for future development.
