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  本文關(guān)鍵詞：探究汪立三《他山集—五首前奏曲與賦格》中的創(chuàng)作與演奏　出處：《陜西師范大學(xué)》2012年碩士論文　論文類型：學(xué)位論文

  更多相關(guān)文章： 汪立三 他山集 前奏曲與賦格 鋼琴

【摘要】：汪立三先生,我國著名音樂家和作曲家,他對(duì)于我國在鋼琴音樂創(chuàng)作方面做出了突出的貢獻(xiàn),在我國是一位令人矚目的音樂家,主要以創(chuàng)作鋼琴曲見長(zhǎng)。他一生都著力于音樂的創(chuàng)作,但與其他同齡的作曲家相比,他的作品內(nèi)容較少,大部分為鋼琴而作。汪立三先生于1953年至今先后共創(chuàng)作出9部鋼琴曲。雖然說數(shù)量不多,但是這些作品的風(fēng)格各式各樣,民族性和時(shí)代性風(fēng)格尤為強(qiáng)烈,是我國優(yōu)秀的作品中的典范之作。 汪立三先生于八十年代初期創(chuàng)作了一部經(jīng)典的鋼琴作品——鋼琴套曲《他山集——五首前奏曲與賦格》。這首套曲的創(chuàng)作形式是以西方的“前奏曲與賦格”的復(fù)調(diào)形式為藍(lán)本進(jìn)行再創(chuàng)作。本文對(duì)他創(chuàng)作的套曲《他山集——五首前奏曲與賦格》中五首作品進(jìn)行詮釋,從曲目中的中國民族性風(fēng)格和現(xiàn)代性風(fēng)格進(jìn)行研究。 這首《他山集——五首前奏曲與賦格》是中國音樂史上唯一的一部標(biāo)題性前奏曲與賦格的鋼琴套曲,對(duì)于汪立三先生在中國鋼琴創(chuàng)作界的地位起到了非常重要的作用以及深刻的意義。這部標(biāo)題性音樂套曲集在20世紀(jì)80年代初期創(chuàng)作而成,其立意新穎、構(gòu)思巧妙,無論是每一首樂曲之間隱伏的線性關(guān)聯(lián),還是樂曲內(nèi)部的設(shè)計(jì),都經(jīng)過了創(chuàng)作上的多方努力和探索以及作者的精心構(gòu)思、巧妙安排,使得這五部作品既具有相對(duì)獨(dú)立的特性,又每首與每首之間相互聯(lián)系。汪立三先生在這部作品中傾注了他極為豐富的想象力、熾熱的情感以及富有哲理的思想,構(gòu)成了一個(gè)嚴(yán)謹(jǐn)、完整的一個(gè)整體�！端郊迨浊白嗲c賦格》中展示了中國文化的博大精深,讓人們能夠清楚地從音樂中領(lǐng)悟到一種雄厚的民族文化、東方人的精神世界與民族精神交匯所產(chǎn)生對(duì)人內(nèi)心世界的震撼。這部作品意境與思想上的“古為今用”,在技法上的“洋為中用”,使其創(chuàng)作成為中國賦格的一個(gè)新篇章。 這部鋼琴套曲其中包括了五首前奏曲與賦格。他們分別由第一首“F宮調(diào)書法與琴韻”、第二首“A羽調(diào)圖案”、第三首“降A(chǔ)徵調(diào)泥土的歌”、第四首“G角調(diào)民間玩具”、第五首“F宮調(diào)山寨”這五首樂曲組成。五首樂曲都建立在五聲調(diào)式體系之中,使用前奏曲與賦格連接而成。這種前奏曲與賦格的音樂體裁文藝復(fù)興時(shí)期廣為流傳,但是前奏曲與賦格作為套曲的一種整體的形式則來自于巴赫的《平均律鋼琴曲集》。在這部鋼琴套曲中,作曲家融入了這種音樂體裁,也將中國深厚文化的底蘊(yùn)積累的情緒融入其中。汪立三在此中選擇了中國文化最具有代表性“書法”與“古琴”這兩種中國特有的文化表現(xiàn)形式,并且運(yùn)用繁瑣多樣的圖案、苦難不堪的大地、幼稚的民間玩具、以及遙遠(yuǎn)偏涼的邊寨等素材,完美的把西方作曲風(fēng)格與中國傳統(tǒng)文化精神進(jìn)行了糅合。 本作者通過閱讀大量書籍、論文以及參考資料,吸取以前很多作者寫的研究成果,對(duì)這個(gè)課題進(jìn)行了深入的思考和研究。筆者希望通過對(duì)這首套曲的研究希望對(duì)自身的演奏和廣大習(xí)琴者有所幫助。 論文包括三個(gè)部分： 第一部分：主要論述作曲家生平�；仡櫫俗髑疑畹臅r(shí)代背景以及主要生平事跡。 第二部分：從民族性風(fēng)格和現(xiàn)代性風(fēng)格在汪立三作品《他山集——五首前奏曲與賦格》的體現(xiàn)做了詳盡的分析與研究。首先,對(duì)賦格曲做了完整的定義以及汪立三具有中國特點(diǎn)的中國賦格曲《他山集——五首前奏曲與賦格》的音樂風(fēng)格與體裁特點(diǎn)。其次,對(duì)于現(xiàn)代賦格技法的運(yùn)用做了一些必要的介紹,以及從現(xiàn)代語匯的運(yùn)用中采用復(fù)功能或多調(diào)性疊置的和聲手法、調(diào)性布局安排這兩點(diǎn)進(jìn)行了分析論述。 第三部分：《他山集——五首前奏曲與賦格》的詮釋。首先對(duì)《他山集》演奏特點(diǎn)和演奏方式做了分析,其次對(duì)于教學(xué)思路的設(shè)計(jì)和如何演奏與教學(xué)做了分析論述。
[Abstract]:Mr. Wang Lisan, a famous musician and composer in China he made outstanding contributions in the creation of piano music in China, is a remarkable musician, mainly to create good piano. His life has focused on music creation, but compared to other age composers, his works less content and most of the piano. Mr. Wang Lisan in 1953 has produced a total of 9 piano. Although the amount is not much, but these works every kind of style, nationality and the times style is strong, is a model of China's excellent works of work.
Mr. Wang Lisan in the early 80s created a classic piano works - Piano divertimento < Tashan set - five Preludes and Fugues. This first divertimento creation form from western "Prelude and fugue" polyphonic form as the blueprint for re creation. The creation of the song "he set his mountain five Preludes and Fugues > five works of interpretation, and from the modern style of music in China national style.
The song "He Shan Ji - five Preludes and Fugues" is Chinese music history's only title of Prelude and Fugue for Piano Divertimento, Mr. Wang Lisan played a very important role and profound significance in the world China piano creation. The title of music divertimento set in 1980s at the beginning of creation, the novel and ingenious design, whether it is hidden between each piece of the linear correlation, or music of the internal design, have been carefully conceived, the creation of the various efforts and exploration as well as the author of ingenious arrangements, the five works not only has the characteristics of relatively independent, and every song and each piece between each other. Mr. Wang Lisan in this work is devoted to his extremely rich imagination, a vigor of the emotions and philosophical thoughts, constitute a rigorous, a whole. Complete his mountain Set - five Preludes and Fugues "show China broad and profound culture, so that people can understand clearly from music to a strong national culture, the spirit of the eastern world and national spirit intersection to produce one's inner world shock. This work of artistic conception and thought of the" old ", in the technique of" foreign things ", make its creation become a new chapter Chinese fugue.
This piano melody including five Preludes and Fugues. They were from the first "F GongDiao calligraphy and a" second song "A Yu tone pattern" third first "drop A features adjustable earth song" fourth first "G angle adjustable folk toys", fifth song "F GongDiao" this copycat five songs. Five songs are based on the five tone system, use Preludes and Fugues connected together. The prelude and Fugue music genre of Renaissance is widely spread, but tempered Piano Preludes and Fugues melody as a whole form is from Bach. Set. In this piano melody, into the music genre composer, will also Chinese deep cultural inside information of accumulation of emotion into one. Wang Lisan chose this China culture is the most representative "calligraphy" and "antique" the two China. Some forms of cultural expression, and the use of various complicated patterns, suffering is the earth, naive folk toys, cold and distant border material, perfect the western composing style and China incorporates the spirit of traditional culture.
The author read a lot of books, papers and reference, learn from the results of previous studies many authors wrote, on the subject of in-depth thinking and research. The author hopes that the research in the first cycle of its own to play the piano and help.
The thesis consists of three parts:
The first part mainly discusses the composer's life. It reviews the background of the composer's life and the main life events.
The second part: from the national style and modern style in the works of Wang Lisan he Hill set reflects five Preludes and Fugues "do a detailed analysis and research. First of all, to do a complete Fugue definition and characteristics of Chinese Wang Lisan has China Fugue he Shanji - music style and the characteristics of five Preludes and Fugues". Secondly, for the use of modern Fugue techniques have made some necessary introduction, and the use of modern vocabulary from the complex function or more tonal superimposed harmonic technique, tonal layout arranged for the two points are analyzed and discussed.
The third part: the interpretation of "tashanji" -- five Preludes and Fugue. First, it analyzes the performance characteristics and the way of playing of "tashanji". Secondly, it analyzes and discusses the design of teaching ideas and how to perform and teach.

【學(xué)位授予單位】：陜西師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2012
【分類號(hào)】：J624.1

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本文編號(hào)：1435508