本文選題：平衡 + 小提琴演奏　； 參考：《上海音樂(lè)學(xué)院》2004年碩士論文

【摘要】：論平衡原理與小提琴演奏的關(guān)系 陳琰樂(lè)(小提琴演奏及教學(xué)) 導(dǎo)師：鄭石生 本文是關(guān)于平衡原理與小提琴演奏關(guān)系的研究，研究范圍包括演奏狀態(tài)的平衡以及演奏系統(tǒng)的平衡兩大方面，分別從多個(gè)角度對(duì)于平衡與小提琴演奏中生理及心理，技術(shù)與藝術(shù)的關(guān)系進(jìn)行了論述。理清復(fù)雜的生理和心理因素，調(diào)整好多變的生理和心理狀態(tài)，正確處理音樂(lè)表現(xiàn)中的感情與理智的關(guān)系是本文的宗旨。 第一章 演奏狀態(tài)的平衡 演奏狀態(tài)的平衡制約演奏者技術(shù)和藝術(shù)才能的發(fā)揮，影響演奏質(zhì)量，決定演奏是否成功，是演奏系統(tǒng)平衡的基礎(chǔ)，是基本平衡。主要包括生理及心理兩大方面： 第一節(jié) 演奏技術(shù)中的平衡 演奏技術(shù)中的平衡，主要涉及生理方面。 (1) 演奏姿勢(shì)中的平衡：主要強(qiáng)調(diào)演奏姿勢(shì)是一個(gè)相互作用力不斷平衡的結(jié)果，任何靜止的狀態(tài)——僵硬，是建立動(dòng)態(tài)平衡系統(tǒng)的障礙。 (2) 左手技術(shù)中的平衡：由于每個(gè)演奏者生理?xiàng)l件不同，不應(yīng)教條地死抱某一條“規(guī)定”來(lái)進(jìn)行左手訓(xùn)練，要特別注意發(fā)展四個(gè)手指的平衡性。 (3) 右手運(yùn)弓中的平衡：在演奏中要追求某種力度和音色的變化，必然涉及弓速、壓力、接觸點(diǎn)這三個(gè)發(fā)音要素，這三要素是互相聯(lián)系，且又處 于一個(gè)平衡體系中的，如果正確處理三者之間的關(guān)系，便能在任何接觸點(diǎn) 上發(fā)出純正且優(yōu)美的聲音了。 第二節(jié)演奏狀態(tài)中的心理平衡 演奏狀態(tài)中的心理平衡是取得舞臺(tái)藝術(shù)成功的關(guān)鍵，成熟的舞臺(tái)心 理取決于演奏者的智力，智能心理品質(zhì)及情感心理品質(zhì)。這一平衡是其廣 義內(nèi)涵的綜合延伸。 第二章演奏系統(tǒng)的平衡 演奏系統(tǒng)平衡二是指技術(shù)與藝術(shù)的平衡，，突出技術(shù)性訓(xùn)練的目的是為 了更好的表現(xiàn)音樂(lè)，是音樂(lè)表現(xiàn)的重要手段。 (l)音樂(lè)表現(xiàn)中感情與理智的平衡:突出演奏者的內(nèi)心感情，應(yīng)建立在 嚴(yán)格冷靜的樂(lè)曲分析與研究之上，演奏者即是樂(lè)曲設(shè)釋者和再創(chuàng)造者，也 是音樂(lè)的享受者，好的演奏者在舞臺(tái)上應(yīng)當(dāng)取得“冷靜的頭腦”與“火熱 的心”的平衡。 (2)不同類型曲目的掌握與平衡:“小提琴家如果是一個(gè)真正的藝術(shù)家， 應(yīng)當(dāng)有不同的面貌，應(yīng)當(dāng)像一個(gè)演員一樣，時(shí)而演悲劇，時(shí)而演喜劇，應(yīng) 當(dāng)會(huì)演奏一切，應(yīng)當(dāng)能掌握一切風(fēng)格”。 (3)復(fù)調(diào)作品中的雙音及和弦演奏的平衡:在復(fù)調(diào)作品中，低音聲部或 內(nèi)聲部的旋律走向往往不清楚，這種聲部進(jìn)行的不平衡性往往容易被忽 視。 (4)合奏、重奏能力的培養(yǎng)與平衡:強(qiáng)調(diào)對(duì)于重奏與合奏的能力的培養(yǎng) 與訓(xùn)練，應(yīng)當(dāng)也是同技術(shù)性能力培養(yǎng)，訓(xùn)練一道從小培養(yǎng)。
[Abstract]:On the relationship between the principle of balance and the violin performance
Chen Yanle (violin performance and teaching)
Tutor: Zheng Shisheng
This article is about the study of the relationship between the principle of balance and the playing of the violin. The scope of the study includes two aspects: the balance of the state of playing and the balance of the playing system. The relationship between the physiology and the psychology of the violin performance and the relationship between technology and art in the violin performance is discussed from many angles. It is the purpose of this article to change the physiological and psychological state and correctly handle the relationship between emotion and reason in musical performance.
Chapter 1 the balance of the state of performance
The balance of playing state restricts the play of the player's technical and artistic talents, affects the performance quality, determines whether the performance is successful, is the basis of the balance of the performance system and the basic balance. It mainly includes two aspects of physiology and psychology.
The first section of the balance in the technique of playing
The balance in playing techniques mainly involves physiological aspects.
(1) the balance in the playing position: the main emphasis is that the playing posture is the result of the constant balance of each other. Any static state - stiff, is an obstacle to the establishment of a dynamic balance system.
(2) balance in the left hand technology: as each player has a different physiological condition, it should not be dogmatic to carry a "regulation" to carry out the left hand training, and special attention should be paid to the development of the balance of the four fingers.
(3) balance in the right hand of the bow: in the performance of the pursuit of a variety of intensity and tone changes, must involve the bow speed, pressure, contact point these three elements of pronunciation, these three elements are interconnected, and are also located
In a balanced system, if we correctly handle the relationship between the three, we can be at any point of contact.
A pure and graceful voice was made.
The psychological balance in the second playing state
The psychological balance in the performance state is the key to the success of stage art.
It depends on the intelligence, intelligence and emotional quality of the performer.
The comprehensive extension of the meaning of the meaning.
The second chapter of the balance of the performance system
The balance of playing system two refers to the balance between technology and art.
Better performance of music is an important means of musical performance.
(L) the balance between emotion and reason in musical performance: to emphasize the inner feelings of the performer should be established.
On the basis of rigorous and rigorous music analysis and research, the performer is the music interpreter and the reproducer.
It is the enjoyment of music. Good performers should be "cool headed" and "hot" on the stage.
The balance of the heart.
(2) mastery and balance of different types of music: "violinist is a real artist.
We should have different looks. We should act like an actor, sometimes act tragedies, and sometimes act as comedians.
When you play everything, you should be able to master all the styles.
(3) the balance of the two tone and chord playing in polyphonic works: in the polyphonic works, the bass part or
The rhythm of inner voice tends to be unclear, and the imbalance of this part of speech is often easily neglected.
See.
(4) ensemble, training and balance of ensemble ability: emphasis on the training of the ability of ensemble and ensemble.
And training, should also be with the training of technical ability, training from an early age.
【學(xué)位授予單位】：上海音樂(lè)學(xué)院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2004
【分類號(hào)】：J622.1

【引證文獻(xiàn)】

相關(guān)碩士學(xué)位論文 前2條

1 佘斐;小提琴換把中即興滑音的使用問(wèn)題以及表現(xiàn)效果研究[D];福建師范大學(xué);2010年

2 蔚華;論兒童小提琴教學(xué)中音樂(lè)“感知與思維”能力的培養(yǎng)[D];南京藝術(shù)學(xué)院;2011年

本文編號(hào)：1941258