本文關(guān)鍵詞：鋼琴演奏中強化聽覺的訓練方法研究　出處：《中國音樂學院》2012年碩士論文　論文類型：學位論文

  更多相關(guān)文章： 鋼琴 聽覺 間離 錄音 返送 黑暗

【摘要】：在鋼琴演奏的過程中,許多演奏者僅僅專注于機械的手指技巧練習或情緒情感的宣泄,卻忽視了聽覺的參與,對作品形成的心理定勢和固定的審美傾向降低了聽覺的敏銳度,使演奏喪失了靈活性和即興感而變得蒼白呆板。 本文將如何解決演奏者無法通過聽覺實時反饋和調(diào)整演奏狀態(tài)作為研究目的。第一章從理論層面分析了內(nèi)心聽覺、德國戲劇理論家貝托爾特·布萊希特“間離效果”、瑞士美學家愛德華·布洛“心理距離”學說、以及心理學基本研究方法——內(nèi)省法。第二章具體闡述了本文運用的三種聽覺訓練方法以及各自特點,其中包括錄音練習法、返送練習法、黑暗練習法。其中運用話筒、電腦、耳機邊彈邊聽實時反饋的返送練習法是筆者的創(chuàng)新所在,是不同于以往研究的創(chuàng)造性嘗試。平時彈奏時聽到的聲音是在彈奏場合下鋼琴發(fā)出的聲波在周圍物體上共振反射形成的,而把話筒放在振動琴弦較近的位置能避免其他物體的共振,采集到的聲音再通過電腦轉(zhuǎn)換為模擬信號,并通過耳機直接傳達到內(nèi)耳。這時的聲音將與原始的聲音發(fā)生變化,在一定程度上形成了陌生感從而達到抽離效果。第三章中,筆者用判斷抽樣的原則共挑選中國音樂學院鋼琴特長及鋼琴專業(yè)的8名本科生對這三種方法進行嘗試,每人使用1-3首曲目進行訓練,每天用固定方法練習半個小時,研究中期和結(jié)束時分別進行自我檢測。本文的重點,是運用行動研究的方法對參與者進行強化聽覺訓練,并進行個案分析得出研究結(jié)論。 從研究結(jié)果來看,參與者通過錄音練習法重點解決了節(jié)奏不穩(wěn)的問題。參與者普遍反映,能夠從錄音中聽出節(jié)奏是否穩(wěn)定,并在隨后的演奏中更加注重節(jié)奏的穩(wěn)定性,在樂曲強弱對比、張力層次、整體邏輯結(jié)構(gòu)方面也得到提高。返送練習法能夠幫助演奏者集中注意力,更加清晰地感受和控制住正在進行的演奏,降低了可能出現(xiàn)的由于情緒過于高漲而對演奏失去理性把握的情況,并使整首樂曲的全局處理變得更富有邏輯。黑暗練習法屏蔽了視覺的干擾,使演奏者將注意力集中在聽覺和觸覺上,更容易、更深刻地投入音樂情景,感受音樂魅力,有助于培養(yǎng)音樂情緒及控制音樂音色。 本文將教學任務(wù)側(cè)重于音樂聽覺和藝術(shù)思維能力的培養(yǎng),達到提高鋼琴演奏者自主的聽覺意識、實時反饋指導自身演奏的教學目的,提供并實踐了強化聽覺訓練的三種教學手段,研究成果顯著,為鋼琴教育研究者開拓了新的思路,為鋼琴學習者提供了新的嘗試,起到拋磚引玉的作用。
[Abstract]:During the course of piano playing, many players simply focus on the mechanical finger tips practice or emotional catharsis, but ignore the auditory involvement, works on the formation of the potential psychological and aesthetic tendency of the fixed reduced auditory acuity, the performance loss of flexibility and sense of improvisation became pale dull.
This paper will discuss how to solve the performer not by hearing real-time feedback and the regulation performance state as the research objective. The first chapter analyzes the inner ear from the theoretical level, the German drama theorist Bertolt Brecht "alienation effect", the Swiss esthetician Edward Blow "psychological distance" theory, psychology and basic research methods -- introspection. The second chapter expounds three auditory training methods used in this paper and their characteristics, including recording practice, return to practice law, the dark practice method which use computer headset, microphone, guitar and listening to the real-time feedback back training method is the author where innovation is different from the previous studies, creative attempt to hear the usual playing time. Sound is the sound of piano playing situations around the formation of resonance reflection on the object, and the microphone on the vibration of the strings is Near the location of other objects to avoid resonance, the collected voice through the computer is converted to analog signals, and the headset is conveyed directly to the inner ear. Then the sound will change with the original sound, on a certain degree of strangeness to pull away. In the third chapter, the author used to judge 8 the principle of sampling were chosen from China Conservatory of Music undergraduate students majoring in piano and piano specialty of these three methods were tried, each using 1-3 tracks for training every day with fixed exercises for half an hour, and at the end of the mid of self detection. The focus of this paper is using the method of action research, strengthen the training on hearing participants and the case analysis, we draw a conclusion.
The study results indicate that the participants to solve the problem of unstable rhythm through the recording practice focus. Participants generally reflect the rhythm is stable from the recording to listen, and pay more attention to the stability of rhythm in the subsequent performance of the music, in contrast, the level of tension, the overall logic structure has also been improved. The return of the practice method to help players focus more clearly feel and control the ongoing performance, reduce may occur due to emotional and irrational play is too high to grasp the situation, and make the overall whole music processing becomes more logical. The dark practice method of visual interference shielding, allowing the player to focus focused on the auditory and tactile, more easily, more deeply into the music scene, feel the charm of music, helps to cultivate emotion and control music tone.
This paper will focus on the training task of teaching music hearing and the art of thinking ability, to improve the piano learner autonomy is the sense of hearing, real-time feedback to guide their own playing and teaching purposes, to provide three kinds of teaching methods to enhance the practice of hearing training, research achievements, and provides a new concept for piano education researchers, for piano the learner provides a new attempt to play a valuable role.

【學位授予單位】：中國音樂學院
【學位級別】：碩士
【學位授予年份】：2012
【分類號】：J624.1

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本文編號：1380788