本文選題：雙排鍵電子琴　切入點：演奏技法　出處：《南京師范大學》2011年碩士論文

【摘要】：雙排鍵電子琴是一種較新的樂器,能給學習者很大的探究空間。 在本文中筆者針對雙排鍵電子琴的演奏技法——“模擬”和“協(xié)調”進行探究。其中“模擬”是指對各種不同樂器音色的模擬,“協(xié)調”是指彈奏時的全身協(xié)調以及彈奏與數(shù)據(jù)盤的協(xié)調。 筆者將兩者分開闡述,是為了比較清晰的凸顯兩個技法,沒有將兩者割裂獨立開的意思。在實際演奏中,兩者是相互結合,相輔相成的。地位不分輕重,重要性相同。不能以點概面,以偏概全。 在文中,筆者根據(jù)自己的學習經(jīng)驗,大膽總結了演奏上的要點,并提出一些新的稱謂,未必所有的同行都能接受,在此,懇請批評指正。畢竟由于種種客觀原因,雙排鍵電子琴的演奏還有待形成完整的理論體系。 在此,筆者以論文的方式,為雙排鍵電子琴的發(fā)展做出綿薄之力,這也是這篇論文的初衷。希望更多的人參與到雙排鍵電子琴的學習和研究中來。
[Abstract]:Double-row keyboard is a relatively new instrument, which can give learners a lot of space to explore.In this paper, the author probes into the playing techniques of double-row keyboard-"simulation" and "coordination".Among them, "simulation" refers to the simulation of various musical instruments' timbre, and "coordination" refers to the coordination of the whole body and the coordination of playing with the data disk.The author explains the two separately in order to highlight the two techniques clearly, and does not separate them from each other.In the actual performance, the two are mutually combined and complementary.Status is of equal importance, regardless of importance.We should not generalize with a point.In this paper, according to my own learning experience, I boldly sum up the main points of playing, and put forward some new appellations, which may not be acceptable to all my peers. Here, I urge criticism and correction.After all, due to various objective reasons, the playing of double-row keyboard still needs to form a complete theoretical system.In this paper, the author makes a small contribution to the development of double-row harpsichord, which is the original intention of this paper.Hope that more people participate in the study and research of double-row keyboard.
【學位授予單位】：南京師范大學
【學位級別】：碩士
【學位授予年份】：2011
【分類號】：J628.1

【引證文獻】

相關期刊論文 前1條

1 劉霞;;淺談雙排鍵電子琴演奏中的弦樂奏法[J];學周刊;2013年07期

相關碩士學位論文 前1條

1 王瀛;解析圣—桑斯《第三交響曲》雙排鍵電子琴上的編配與演奏[D];西安音樂學院;2013年

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本文編號：1688868