本文選題：箏 + 五聲音階　； 參考：《天津音樂(lè)學(xué)院》2002年碩士論文

【摘要】： 箏是我國(guó)具有古老傳統(tǒng)的民族彈撥樂(lè)器，廣受人民群眾的喜愛(ài)。它的聲音悠揚(yáng)動(dòng)聽(tīng)，尤其是所采用的五聲音階定弦加上左手的按、滑、顫、揉等多種表現(xiàn)方法能反映出人們的各種情趣。也使其在民族音樂(lè)中占有重要的一席之地。 本文從箏的歷史發(fā)展、五聲音階定弦、五音在箏樂(lè)作品中的體現(xiàn)與結(jié)論四大部分進(jìn)行論述。文章第一部分主要是以歷代箏形制中弦數(shù)的變化為主，介紹了箏在我國(guó)古代的形制及功用等方面的發(fā)展概況，并將現(xiàn)代人們對(duì)箏的研究論著進(jìn)行粗略的小結(jié)，，從而引出本文的核心論點(diǎn)“五聲定弦的固定不變”。文章的第二部分分別論述了五聲音階的出現(xiàn)、舞陽(yáng)賈湖骨笛測(cè)音結(jié)果的分析、五音產(chǎn)生所依賴的我國(guó)古代歷史自然背景和勞動(dòng)人民對(duì)五音的運(yùn)用情況。綜合性的分析了五聲音階這一“古老”的音階形式與中國(guó)人民的思維及審美之間的內(nèi)在聯(lián)系。這一章是全文的核心。文章第三部分對(duì)傳統(tǒng)箏曲和現(xiàn)代箏曲的音階分析及五音定弦與現(xiàn)代箏曲音樂(lè)表現(xiàn)之間的矛盾進(jìn)行論述。文章的最后對(duì)今后箏樂(lè)的發(fā)展提出展望并得出結(jié)論：借西方創(chuàng)作技法以奉五聲之內(nèi)在思維。
[Abstract]:Zheng is an ancient traditional national plucked musical instrument, which is popular with the people.Its sound melodious, especially the use of pentatonic strings plus the left hand of the press, slippery, shaking, kneading and other performance methods can reflect people's various interests.Also make it occupy an important place in folk music.This paper discusses the historical development of Zheng, the representation and conclusion of five-tone scale and five-tone in Zheng music works.The first part of the article is mainly based on the changes of string number in the form system of Zheng in the past dynasties. It introduces the development of Zheng in ancient China in shape and function, and gives a rough summary of the research works on Zheng by modern people.Thus leads to the core argument of this paper, "Fixedness of pentatonic fixed string".The second part of the article discusses the appearance of the five sound steps, the analysis of the results of the sound measurement of the Jia-Hu bone flute in Wuyang, the natural background of ancient Chinese history on which the five sounds are produced, and the application of the five sounds by the laboring people.This paper comprehensively analyzes the internal relationship between the pentatonic scale, the "ancient" scale form, and the thinking and aesthetics of the Chinese people.This chapter is the core of the full text.The third part discusses the scale analysis of traditional and modern Zheng music and the contradiction between the five-tone fixed string and the musical expression of modern zither music.At the end of the article, the development of zither music in the future is prospected and the conclusion is drawn: by using western creative techniques, we can think within five sounds.
【學(xué)位授予單位】：天津音樂(lè)學(xué)院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2002
【分類號(hào)】：J632.32

【引證文獻(xiàn)】

相關(guān)碩士學(xué)位論文 前2條

1 任潔;《十天之間》的藝術(shù)特色與演奏體驗(yàn)[D];南京藝術(shù)學(xué)院;2008年

2 崔瀟然;美學(xué)意蘊(yùn)下的中國(guó)箏曲[D];西安音樂(lè)學(xué)院;2010年

本文編號(hào)：1772902