【摘要】：第一首中阮協(xié)奏曲《云南回憶》在1986年創(chuàng)作而成。作品取材于云貴高原的多民族原生態(tài)音樂(lè),描寫(xiě)了云南地區(qū)的多民族人們的生活狀態(tài)和民族風(fēng)情。樂(lè)曲在創(chuàng)作特征和演奏技巧上均與傳統(tǒng)樂(lè)曲大有不同,其利用中阮的獨(dú)特音色,與西方作曲技法和現(xiàn)代的演奏技法相結(jié)合,使之與時(shí)俱進(jìn)卻又不失民族風(fēng)味,向世人展現(xiàn)出了云南這片神秘凈土上的民族風(fēng)情和人文景觀。著名作曲家和阮演奏家劉星先生,為阮的發(fā)展和改革做出了突出的貢獻(xiàn)。他在創(chuàng)作曲目時(shí)大量借鑒了吉他的演奏手法,從而更加豐富了阮的演奏技巧,并且用他頗有個(gè)性的創(chuàng)作手法對(duì)作品的和聲和調(diào)性進(jìn)行了大膽的嘗試和改革,后創(chuàng)作出了《云南回憶》這首曲子。在創(chuàng)作特征上,筆者主要從采用民族調(diào)式與現(xiàn)代作曲技法相融合、采用西方的作曲技法和節(jié)奏特征以及大量的和弦三個(gè)板塊進(jìn)行詳細(xì)的分析。在演奏方式上,筆者主要從常規(guī)性演奏技巧與創(chuàng)新性演奏技巧兩方面進(jìn)行闡述,劉星先生不僅運(yùn)用了滑音、打音、帶音、推拉弦、掃拂、止音等常規(guī)性的演奏技巧,并且加入了靠近琴碼演奏的創(chuàng)新性技巧。但是盡管作者大量吸收了西方音樂(lè)元素和現(xiàn)代的作曲技法,如布魯斯節(jié)奏的特點(diǎn)以及功能性和弦的大量運(yùn)用等,但正如劉星先生所說(shuō):“我猜想《云南回憶》肯定會(huì)受這些西方音樂(lè)的影響,但是這些其實(shí)只是表面影響,在《云南回憶》中比較深層的影響還是民族的多一些�！彼栽诜治鲞^(guò)程中也發(fā)現(xiàn)民族性是其創(chuàng)作的基礎(chǔ)和來(lái)源。通過(guò)研究也可以看出,對(duì)于分析《云南回憶》的創(chuàng)作特征與演奏技巧的文章較少,因此本文主要從這兩方面進(jìn)行詳細(xì)分析,并進(jìn)一步討論民間器樂(lè)創(chuàng)作作品的傳承和創(chuàng)新問(wèn)題。
[Abstract]:The first Ruan Concerto, Yunnan memories, was written in 1986. The works are based on the original ecological music of Yunnan-Guizhou Plateau and describe the living conditions and ethnic customs of the multi-ethnic people in Yunnan. The composition is very different from the traditional music in its creative characteristics and performance techniques. The unique timbre of Ruan is combined with western composing techniques and modern playing techniques, so that it can keep pace with the times without losing its national flavor. To show the world this mysterious pure land of ethnic customs and cultural landscape. Mr. Liu Xing, a famous composer and performer, made outstanding contributions to the development and reform of Ruan. When he created the repertoire, he borrowed a lot of guitar playing techniques, thus enriched Ruan's playing skills, and used his own creative techniques to make bold attempts and reforms on the harmony and tonality of the works. After the creation of "Yunnan memories" this song. In terms of creative features, the author mainly from the use of national mode and modern composition techniques to merge, the use of Western composition techniques and rhythm characteristics and a large number of chords of the three plates to carry out a detailed analysis. In the way of playing, the author mainly expounds from two aspects of the conventional performance technique and the innovative performance technique. Mr. Liu Xing not only uses the conventional playing techniques, such as slippery, playing, banding, pushing and pulling strings, sweeping and stopping the sound, etc. And added the innovative technique of playing close to the piano code. But although the author absorbed a lot of western musical elements and modern composing techniques, such as the characteristics of blues rhythm and the extensive use of functional chords, But as Mr. Liu Xing said, "I suspect that" Yunnan memories "will definitely be influenced by these western music, but these are in fact only superficial effects, in the" Yunnan memories "the deeper influence is still a little more national. Therefore, in the process of analysis, we also found that nationality is the basis and source of its creation. It can also be seen from the study that there are few articles on the analysis of the creative characteristics and performance techniques of Yunnan memory, so this paper mainly analyzes these two aspects in detail, and further discusses the inheritance and innovation of folk instrumental works.
【學(xué)位授予單位】：山東藝術(shù)學(xué)院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類(lèi)號(hào)】：J632.35

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本文編號(hào)：2319098