本文選題：單簧管　切入點：演奏技巧　出處：《中央音樂學院》2011年碩士論文　論文類型：學位論文

【摘要】：單簧管的發(fā)展史也是單簧管演奏技術的發(fā)展史。在單簧管的演奏技術中,有一種特殊技巧,它代表著單簧管演奏技術的發(fā)展方向。所謂特殊技巧,就是以傳統的單簧管演奏技術為基礎,在演奏實踐中創(chuàng)新發(fā)展出來的新技巧。特殊技巧的內涵不是一成不變的,而是隨著音樂的發(fā)展和樂器本身的進步不斷發(fā)展和演變著,反過來又促進音樂的發(fā)展和樂器構造技術的進步。當音樂本身需要用新的形式進行表現時,新的演奏技巧就會出現,它往往產生于民間或演奏實踐中。 目前國際上單簧管的特殊技巧已有很大的發(fā)展,而國內著力進行系統研究與實踐的似乎并不多。北京2009年第二屆國際音樂節(jié)單簧管演奏比賽中,美國茱莉亞音樂學院的參賽選手們普遍運用了雙吐音和循環(huán)呼吸等特殊技巧,使中國以及亞洲選手受到了啟迪,我們應該切實加強這方面的探索與研究,并勇于在教學與實踐中加以運用,逐步縮小與國際上的差距,推動中國單簧管演奏水平的不斷提高。 通過這幾年的學習和實踐,我不斷摸索和總結自己的學習體會和演奏經驗,將一些特殊技巧運用到演奏實踐中,尤其是嘗試將小提琴獨奏曲目進行改編,用單簧管進行演奏,取得了很好的效果。實踐證明,單簧管是一件具有發(fā)展前景的樂器,它的音域可以通過特殊技巧被拓展得更寬,從而演奏一些更復雜更絢麗的曲目。本文粗淺地介紹和論述了當今幾種比較典型并且運用相對廣‘泛的特殊技巧的演奏方法,以及在經典曲目中的運用。共分為六章,先后論述了雙吐音,循環(huán)呼吸,超高音,打舌與花舌,滑音等,由于雙音、三音、多音及微分音在技術上有關聯性,因而放在最后一章中分別論述。為便于理解和實踐,重要章節(jié)均安排了譜例。在結束語中強調,作為職業(yè)樂手對于特殊演奏技巧的態(tài)度應該是努力掌握而不迷信、積極利用而不炫耀,堅持技術為音樂服務的觀點。同時,應該尊重那些孜孜不倦追求新技巧的樂手,因為他們是推動樂器進步和音樂發(fā)展的生力軍。
[Abstract]:The history of clarinet development is also the history of clarinet playing technology. In the clarinet playing technology, there is a special technique, which represents the development direction of clarinet playing technology. It is based on the traditional clarinet playing technology, and it is a new technique that has been innovated and developed in the practice of playing. The connotation of the special skill is not static, but with the development of music and the progress of the musical instrument itself, it develops and evolves constantly. In turn, it promotes the development of music and the progress of musical instrument construction technology. When the music itself needs to be expressed in a new form, new playing techniques will emerge, which often arise from folk or playing practice. At present, the special technique of clarinet has been greatly developed in the world, but it seems that there are few researches and practices in our country. In the second International Music Festival Clarinet performance Competition held in Beijing in 2009, The contestants at the Juilliard Conservatory of Music in the United States have generally used special techniques such as double breath and circulatory breathing, which have inspired Chinese and Asian players. We should really strengthen our exploration and research in this respect. The author dares to apply it in teaching and practice, gradually narrow the gap with the world, and promote the improvement of Chinese clarinet performance. Through these years of study and practice, I have been groping and summing up my own learning experience and playing experience. I have applied some special skills to my performance practice, especially in trying to adapt the violin solo repertoire and play with the clarinet. The clarinet is proved to be a promising instrument whose range can be broadened by special techniques. This paper briefly introduces and discusses several typical and relatively broad special techniques and their application in the classical repertoire. It is divided into six chapters. In this paper, it is discussed successively that double spit, circulatory breathing, super high tone, tongue playing and floral, slippery tone, etc., due to the technical connection among double tone, triple tone, polyphony and differential sound, they are discussed in the last chapter respectively, in order to facilitate understanding and practice. In the closing remarks, it is emphasized that the attitude of professional musicians towards special performance skills should be an effort to master rather than superstition, to use actively rather than to show off, and to adhere to the view that technology serves music. Musicians who work tirelessly for new techniques should be respected because they are the driving force behind the advancement and development of musical instruments.
【學位授予單位】：中央音樂學院
【學位級別】：碩士
【學位授予年份】：2011
【分類號】：J621.4

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