本文選題：低音提琴歷史 + 琴弓發(fā)展史��； 參考：《中央音樂學(xué)院》2014年碩士論文

【摘要】：低音提琴這門樂器是適應(yīng)音樂的發(fā)展以及越來越多的市場(chǎng)需求而產(chǎn)生的樂器,這個(gè)樂器開始是為樂隊(duì)產(chǎn)生的。隨著時(shí)間的發(fā)展,角度的轉(zhuǎn)變,低音提琴獨(dú)奏的曲目越來越多,非常多的作曲家也開始譜寫低音提琴作品,也有很多人開始把大提琴或者小提琴吉他等樂器的作品改編或移植成為低音提琴的作品。隨著作品的不斷問世,這也要求低音提琴演奏者們的技術(shù)也要不斷地提高來適應(yīng)作品和市場(chǎng)的需求。而低音提琴這個(gè)樂器的右手運(yùn)功的技術(shù)難度遠(yuǎn)遠(yuǎn)超過左手,在保持好左手換把的穩(wěn)定性和固定性的基礎(chǔ)上,本文針對(duì)低音提琴右手技術(shù)中的弓法練習(xí)部分進(jìn)行解析,讓演奏者們?cè)诰毩?xí)過程中領(lǐng)會(huì)弓法練習(xí)的重要性,抓住時(shí)代風(fēng)格與作曲家的意圖,從而讓演奏者在演奏過程中條理更加清晰。右手更加自如。
[Abstract]:Bass is a musical instrument adapted to the development of music and more and more market demand, this instrument was originally created for the band.With the development of time and the change of angle, there are more and more bass solos, and a lot of composers have begun to write bass works.Others have adapted or transplanted instruments such as cello or violin guitar to bass.With the advent of the work, it also requires the bass players to improve their skills to meet the needs of the work and the market.On the basis of maintaining the stability and fixation of the left hand replacement handle, this paper analyzes the bow method in the right hand technique of the bass violin, which is far more difficult than that of the left hand.Let players understand the importance of bow practice in the process of practice, grasp the style of the times and the intention of the composer, so that the players in the process of playing more clearly.The right hand is more comfortable.
【學(xué)位授予單位】：中央音樂學(xué)院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類號(hào)】：J622.4

【參考文獻(xiàn)】

相關(guān)期刊論文 前2條

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2 馬茂龍;低音提琴聲音質(zhì)量探秘[J];星海音樂學(xué)院學(xué)報(bào);2001年03期

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本文編號(hào)：1766556