【摘要】： 進(jìn)入新的世紀(jì),我國的傳統(tǒng)二胡藝術(shù)在得到進(jìn)一步發(fā)展的同時(shí),也經(jīng)受著來自多種內(nèi)在的及外在的影響因素的沖擊。如何使二胡藝術(shù)能夠在新的時(shí)代、新的環(huán)境中健康發(fā)展,是我們當(dāng)前所面臨的一個(gè)緊迫的問題。二胡藝術(shù)歷經(jīng)數(shù)百年發(fā)展,在上世紀(jì)二十年代被劉天華引入學(xué)校作為一個(gè)教學(xué)科目進(jìn)行教授之后,曾經(jīng)歷了一個(gè)繁榮發(fā)展的階段。也正是在那一時(shí)期,為我國后來的民族音樂事業(yè)培養(yǎng)了一批德才兼?zhèn)涞亩葑嗉?時(shí)至今日,這些演奏家在業(yè)界都保持著巨大的影響力,甚至他們?cè)缙诘囊恍┳髌分两穸紵o法被后人所超越。 劉天華先生無疑是那個(gè)時(shí)期二胡藝術(shù)的代表人物,他的一生曾創(chuàng)作了大量二胡、琵琶等民族器樂作品,尤其是對(duì)二胡的構(gòu)造、演奏技法等方面做了許多有益的革新,還有他對(duì)我國民族音樂教育所做出的最大貢獻(xiàn)就是將二胡演奏引入到學(xué)校教育中來,而蘊(yùn)含在其中的劉天華的音樂教育思想,對(duì)我們今天的民族音樂教育仍然具有現(xiàn)實(shí)的指導(dǎo)意義。本文將通過三個(gè)部分對(duì)劉天華的藝術(shù)生平、音樂教育思想及其音樂教育思想對(duì)當(dāng)代二胡藝術(shù)教育的指導(dǎo)意義進(jìn)行研究。 在文章的第一部分中,我們首先通過回顧前人對(duì)劉天華的有關(guān)評(píng)述與研究并對(duì)其藝術(shù)生平、音樂作品及音樂思想進(jìn)行了總結(jié),在此基礎(chǔ)上引出了本文的研究課題——?jiǎng)⑻烊A“顧及大眾”音樂思想的研究,并提出了本文的研究方法。文章的第二部分首先分析了劉氏“大眾化”音樂教育思想的形成過程,及他在音樂創(chuàng)作及音樂教學(xué)中的應(yīng)用。在文章的最后一部分,我們通過對(duì)當(dāng)代二胡藝術(shù)發(fā)展?fàn)顩r及觀眾特點(diǎn)的分析,指出劉天華“顧及民眾”的音樂教育思想對(duì)當(dāng)前二胡音樂教育具有重要的現(xiàn)實(shí)意義。
[Abstract]:In the new century, the traditional erhu art in China has been further developed, but also suffered from a variety of internal and external factors. How to make the erhu art develop healthily in the new era and environment is an urgent problem we are facing at present. Erhu art has been developed for hundreds of years. After being introduced into the school as a teaching subject by Liu Tianhua in the 1920s, it has experienced a stage of prosperity and development. It was during that period that a number of erhu performers with both moral and talented abilities were trained for our country's later folk music career. To this day, these players have maintained tremendous influence in the industry. Even some of their early works are still beyond the reach of later generations. There is no doubt that Mr. Liu Tianhua was a representative figure of erhu art in that period. In his life, he created a large number of national instrumental works, such as erhu, pipa, and so on. In particular, he made many useful innovations in the construction and performance techniques of erhu. And his greatest contribution to our national music education is the introduction of erhu playing into school education, and Liu Tianhua's music education thought, which is contained in it, It still has realistic guiding significance to our folk music education today. This paper will study Liu Tianhua's art life, music education thought and its guiding significance to contemporary erhu art education through three parts. In the first part of the article, we first review the previous comments and studies on Liu Tianhua and summarize his artistic life, musical works and musical thoughts. On the basis of this, the research topic of this paper-Liu Tianhua's "taking into account of the masses" music thought, is introduced, and the research method of this paper is put forward. The second part of the article first analyzes the formation process of Liu's "popular" music education thought, and his application in music creation and music teaching. In the last part of the article, through the analysis of the development of the contemporary erhu art and the characteristics of the audience, we point out that Liu Tianhua's musical education thought of "taking account of the people" has important practical significance for the current erhu music education.
【學(xué)位授予單位】：河北師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2010
【分類號(hào)】：J607

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本文編號(hào)：2226065