發(fā)布時(shí)間：2018-05-21 19:09

  本文選題：自由低音手風(fēng)琴 + 巴洛克鍵盤音樂�。� 參考：《山西大學(xué)》2006年碩士論文

【摘要】：自由低音手風(fēng)琴問世是手風(fēng)琴制造業(yè)上的巨大改良和突破，通過這樣實(shí)質(zhì)性的改進(jìn)，手風(fēng)琴的演奏音域得到了更大的拓寬，，音樂表現(xiàn)手法及演奏技巧也因此變得更為豐富和多樣化。隨著自由低音手風(fēng)琴的不斷普及，巴洛克作曲家拉莫和庫普蘭的鍵盤音樂作品越來越受到重視。由于自由低音可以較為完整地演奏巴洛克時(shí)期鍵盤作品，再加上手風(fēng)琴的音色與巴洛克時(shí)期盛行的鍵盤樂器的音色的相似性，演奏者在演奏巴洛克作品時(shí)，能夠在很大程度上展現(xiàn)當(dāng)時(shí)的音樂格調(diào)。另外，巴洛克的音樂是建立在多旋律結(jié)合基礎(chǔ)上的織體，它十分講究各聲部自身的獨(dú)立進(jìn)行和相互間的良好關(guān)系，并且由此形成了一系列的邏輯和格律。這種從藝術(shù)中得到的邏輯感和格律感的訓(xùn)練，必將在潛移默化中使我們的抽象感、秩序感得到提高，并由此而增強(qiáng)演奏者自身的藝術(shù)理解能力和表現(xiàn)能力。 目前國內(nèi)外對于手風(fēng)琴演奏巴洛克時(shí)期音樂的研究大部分都集中在巴赫和斯卡拉蒂的作品上，然而對庫普蘭與拉莫鍵盤作品這個(gè)專題的理論研究卻相對較為欠缺，缺乏針對這一專題進(jìn)行較為廣泛和深入的探討。 本文首先通過自由低音手風(fēng)琴樂器的發(fā)展與作品走向，結(jié)合巴洛克時(shí)期的音樂風(fēng)格、鍵盤樂器特點(diǎn)的研究來討論庫普蘭、拉莫鍵盤音樂作品的特性；同時(shí)融入在其演奏中的觸鍵、音色、風(fēng)箱運(yùn)用等技巧，并結(jié)合自己對自由低音手風(fēng)琴的學(xué)習(xí)、音樂會的觀賞和欣賞CD中的一些體會來論述在手風(fēng)琴演奏庫普蘭、拉莫作品中應(yīng)遵循的規(guī)范，并從技術(shù)和藝術(shù)兩個(gè)角度提出了一些自己的觀點(diǎn)和看法，旨在有助于演奏者對作品內(nèi)容的深入了解，把握作品的演奏風(fēng)格，準(zhǔn)確的再現(xiàn)作品的內(nèi)涵，并賦予巴洛克音樂以自由低音手風(fēng)琴特有的藝術(shù)魅力。
[Abstract]:The advent of the free bass accordion is a great improvement and breakthrough in the accordion manufacturing industry. Through such substantial improvement, the playing range of the accordion has been further broadened. As a result, musical performance techniques and performance techniques have become richer and more diverse. With the increasing popularity of free bass accordions, Baroque composers Lamo and Kupland's keyboard music have received more and more attention. Because free bass can play the Baroque keyboard more completely, and because the accordion's timbre is similar to the timbre of the keyboard instruments prevailing during the Baroque period, the performer plays Baroque. To a large extent can show the style of music at that time. In addition, Baroque's music is a texture based on the combination of multiple melodies. It pays great attention to the independent and good relations of each voice itself, and thus forms a series of logic and rhythm. This kind of training of logic and rhythm will improve our sense of abstraction and order in the process of imperceptibly, and thus enhance the ability of the performer to understand and express his own art. At present, most of the studies on accordion playing Baroque period are focused on the works of Bach and Scarlatti, but the theoretical research on the theme of Kupland and Lamo keyboard works is relatively lacking. Lack of more extensive and in-depth discussion on this topic. This paper first discusses the characteristics of Kupland and Lamo's keyboard music works through the development and trend of free bass accordion instruments, combined with the music style of Baroque period and the characteristics of keyboard instruments. At the same time, it integrates the skills of touch key, timbre, bellows and so on, and discusses playing Kupland on the accordion by combining with his own experience in learning the free bass accordion, watching the concert and appreciating the CD. The norms that should be followed in Ramo's works are put forward from two aspects of technology and art. The aim is to help the performer to understand the content of the work, grasp the style of performance, and accurately reproduce the connotation of the work. And to give Baroque music with the free bass accordion unique artistic charm.
【學(xué)位授予單位】：山西大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2006
【分類號】：J624.3

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本文編號：1920397