本文選題：指法 + 鋼琴演奏　； 參考：《星海音樂學(xué)院學(xué)報(bào)》2010年01期

【摘要】：在16-17世紀(jì)古鋼琴時(shí)代,鍵盤指法藝術(shù)水平還停留在大拇指尚未得到徹底解放的階段。真正將拇指徹底解放出來的是C.P.E.巴赫的《論鍵盤樂器演奏藝術(shù)》,為鋼琴藝術(shù)史首次建立了一套完整的有關(guān)鋼琴演奏的理論體系。19世紀(jì)以后,音階、琶音、半音階等已形成慣有的一套演奏方法,但早期指法仍然在肖邦、李斯特等作曲家的作品中復(fù)返。探索鋼琴指法藝術(shù)的歷史可見,最初的"越指"是為了避免拇指和小指的使用,是時(shí)代審美觀和樂器發(fā)展的局限;而19世紀(jì)以后的"越指"則是作曲家對(duì)技巧和音樂表達(dá)提出的更高的要求。
[Abstract]:In the 16-17 th century ancient piano age, the art level of keyboard fingering was still in the stage that thumbs had not been completely liberated. What really frees the thumb is C.P.E. Bach's "on the Art of playing Keyboard", for the first time in the history of piano art, a complete theoretical system of piano performance was established. After the 19th century, scales, arpeggios, and semitones have formed a set of usual playing methods. But early fingering is still in the works of Chopin, Liszt and other composers. In order to avoid the use of thumb and pinky, it is the limitation of the development of aesthetic and musical instruments to explore the history of piano pointing art. After the 19 th century, Yuejiu is a higher demand for skill and musical expression.
【作者單位】： 上海師范大學(xué)音樂學(xué)院;
【分類號(hào)】：J624.1

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相關(guān)期刊論文 前1條

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【共引文獻(xiàn)】

相關(guān)碩士學(xué)位論文 前1條

1 欒s，

本文編號(hào)：1996165