本文選題：琵琶 + 霸王卸甲��； 參考：《山東藝術(shù)學(xué)院》2017年碩士論文

【摘要】：琵琶距今已有兩千多年的歷史,可謂彈撥樂器中最年長的樂器之一。到了公元十五世紀(jì)左右,琵琶音樂類型也發(fā)生了變化,出現(xiàn)了“文曲”“武曲”,這些作品大多演奏難度較大,音色變化頻繁,大大豐富了琵琶的藝術(shù)表現(xiàn)力和藝術(shù)特色。本文從音樂本體、演奏特征以及創(chuàng)作特點出發(fā)對武套《霸王卸甲》進(jìn)行分析。演奏這首作品必將有助于演奏者更好的挖掘和表現(xiàn)武曲的特點,并對曲子的把握以及理解武曲的思想內(nèi)涵提出了新的要求與挑戰(zhàn)。文章對琵琶武曲《霸王卸甲》的創(chuàng)作特點及藝術(shù)特色進(jìn)行探討,希望對琵琶藝術(shù)的傳承與創(chuàng)新具有一定的現(xiàn)實意義。要處理好《霸王卸甲》的演奏是一個較為復(fù)雜漫長的過程。因此,通過科學(xué)引導(dǎo),樹立良好的曲風(fēng)和情感觀念,從多方面全面提高對樂曲的理解與創(chuàng)作特點的把握,才可能較好的解決這一問題。本文從琵琶武曲《霸王卸甲》的創(chuàng)作特點與藝術(shù)特色為出發(fā)點,結(jié)合演奏實踐經(jīng)驗總結(jié)出自己的研究心得,對琵琶武曲的探究加以補充及梳理。以分析琵琶武曲《霸王卸甲》的創(chuàng)作特點及藝術(shù)特色為視角來窺探和挖掘琵琶傳統(tǒng)作品的藝術(shù)魅力。對《霸王卸甲》不同流派的創(chuàng)作特點與藝術(shù)特色進(jìn)行比較分析,力求加深對樂曲的理解和掌握。并在對《霸王卸甲》進(jìn)行解讀和演繹的過程中,力求在各流派《霸王卸甲》本身所蘊含的音樂風(fēng)格的把握上加以研究,使傳統(tǒng)琵琶武曲在不斷的傳承和創(chuàng)新中得到發(fā)展。本文在前人研究的基礎(chǔ)上,結(jié)合當(dāng)前琵琶作品的創(chuàng)作以及目前的演奏情況結(jié)合自身的演奏經(jīng)歷,對這首曲子進(jìn)行細(xì)致的分析總結(jié)。
[Abstract]:The pipa has a history of more than two thousand years and is one of the oldest plucked instruments. By the 15th century AD, the types of pipa music had also changed, and "Wen qu" and "Wu qu" appeared. Most of these works were difficult to play and the timbre changed frequently, which greatly enriched the artistic expression and artistic characteristics of the pipa. In this paper, the music Noumenon, performance characteristics and creative characteristics of the Wusai "overlord disarm armour" is analyzed. Playing this piece of music will help the performer to better excavate and express the characteristics of Wuqu, and put forward new requirements and challenges to grasp the tune and understand the ideological connotation of Wuqu. This paper probes into the creative characteristics and artistic characteristics of the pipa's Wu qu "overlord and unarmor", hoping that it will have certain practical significance for the inheritance and innovation of the pipa art. It is a complicated and long process to deal with the performance of overlord disarming armour. Therefore, through scientific guidance, to establish a good style of music and emotional concepts, from various aspects to improve the understanding of music and creative characteristics of grasp, it is possible to better solve this problem. From the point of view of the creative and artistic characteristics of the pipa Wuqu "overlord and unarmour", this paper sums up his own research experience in combination with the practical experience of playing, and supplements and combs the exploration of the pipa's Wu qu. Based on the analysis of the artistic characteristics and artistic characteristics of the pipa's Wu qu "the overlord and the disarm of the armour", this paper explores and excavates the artistic charm of the pipa's traditional works. This paper makes a comparative analysis of the creative and artistic characteristics of different schools of "overlord and unarmour" in order to deepen the understanding and mastery of the music. And in the process of interpretation and deduction of "overlord unloading armour", the author tries to study the musical style contained in all schools of "overlord unloading armour", so as to make the traditional pipa Wu song develop in the process of continuous inheritance and innovation. On the basis of previous studies, this paper analyzes and summarizes this piece of music in detail, combining with the creation of the current pipa works and the current performance situation combined with its own performance experience.
【學(xué)位授予單位】：山東藝術(shù)學(xué)院
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2017
【分類號】：J632.33

【參考文獻(xiàn)】

相關(guān)期刊論文 前9條

1 方旭;;論琵琶曲《霸王卸甲》及音樂表現(xiàn)[J];讀天下;2016年19期

2 崔曉君;;從琵琶曲《霸王卸甲》看汪派與浦東派藝術(shù)特色的異同[J];當(dāng)代音樂;2016年17期

3 段妍;;淺析琵琶武曲《十面埋伏》與《霸王卸甲》的藝術(shù)特色[J];戲劇之家(上半月);2014年04期

4 閆姝寧;;淺析琵琶曲《霸王卸甲》的悲劇色彩[J];北方音樂;2014年02期

5 謝青;;悲壯挽歌——淺析《霸王卸甲》劉德海演奏譜[J];中國音樂;2013年03期

6 張冬莎;;烏江壯烈遺古恨 劉派‘霸王’譜新情——劉德海新編《霸王卸甲》淺析[J];黃河之聲;2010年02期

7 付樂琳;;新編《霸王卸甲》中的性格演繹與文化解讀[J];音樂創(chuàng)作;2008年05期

8 梁冰;;淺析琵琶古曲《十面埋伏》與《霸王卸甲》的創(chuàng)作特點[J];歌海;2007年05期

9 王承植;琵琶曲《霸王卸甲》的流變[J];中國音樂;2004年03期

，

本文編號：2060297