本文選題：現(xiàn)代箏樂 + 創(chuàng)新��； 參考：《江西師范大學(xué)》2012年碩士論文

【摘要】：發(fā)展是一個沿革的過程，“沿”即沿襲、繼承，“革”即變革、發(fā)展。箏樂藝術(shù)的發(fā)展也是一個不斷沿襲、變革的發(fā)展過程。自八十年代以來，現(xiàn)代箏樂進(jìn)入一個全新的發(fā)展階段，它為傳統(tǒng)箏樂的繼承與發(fā)展帶來新的視角，如何既要繼承傳統(tǒng)箏樂又改革創(chuàng)新，使我國現(xiàn)代箏樂藝術(shù)更加完美，是我們這一代古箏音樂工作者應(yīng)盡的責(zé)任。 本文共分為四個部分進(jìn)行論述。第一章，通過對傳統(tǒng)箏派的形成及風(fēng)格的介紹，讓讀者對傳統(tǒng)古箏藝術(shù)的發(fā)展有個初步的了解。第二章，從傳統(tǒng)箏曲的題材特征、曲式結(jié)構(gòu)、定弦調(diào)式音階和演奏技法四個方面對傳統(tǒng)箏樂進(jìn)行論述。第三章，論述的是現(xiàn)代箏樂的創(chuàng)新點(diǎn)，為本文的重點(diǎn)，一方面從現(xiàn)代箏樂的創(chuàng)作背景、創(chuàng)作主體多元化、創(chuàng)作題材多樣化、創(chuàng)新觀念的不斷更新四個方面進(jìn)行宏觀論述，另一方面從現(xiàn)代箏樂作品曲式結(jié)構(gòu)、調(diào)式音階、演奏技法、和聲布局、音色音響、節(jié)奏、演奏形式七個方面有別于傳統(tǒng)箏樂表現(xiàn)手法作具體論述。第四章，針對現(xiàn)代箏樂創(chuàng)新引發(fā)的思考：一方面，現(xiàn)代箏樂的創(chuàng)新要與審美取得平衡，認(rèn)清二者之間辯證統(tǒng)一的關(guān)系；另一方面，在當(dāng)今箏樂藝術(shù)主要以學(xué)院派為中心進(jìn)行專業(yè)化教育，而學(xué)院派逐漸西化，從而忽略了傳統(tǒng)箏派各派箏曲風(fēng)格的演繹，傳統(tǒng)箏樂發(fā)展道路越來越窄，因此，發(fā)展各地傳統(tǒng)箏派的意義何在，今后如何發(fā)展等問題，應(yīng)引起我們足夠的重視。
[Abstract]:Development is a process of evolution, "along" that is, inheritance, "revolution" is change, development. The development of Zheng music art is also a process of continuous succession and reform. Since the 1980s, modern Zheng music has entered a new stage of development, which brings a new angle of view for the inheritance and development of traditional Zheng music. How to inherit the traditional Zheng music as well as reform and innovate, so as to make the art of modern Zheng music more perfect in our country. It is the duty of our generation of zither musicians. This article is divided into four parts to discuss. The first chapter, through the formation and style of the traditional Zheng school, let readers have a preliminary understanding of the development of traditional Zheng art. The second chapter discusses the traditional Zheng music from four aspects: the theme characteristics, the structure of the music, the scale of the fixed string and the playing techniques. The third chapter discusses the innovation of modern Zheng music, which is the focus of this paper. On the one hand, it discusses from four aspects: the background of modern Zheng music, the diversification of creative subjects, and the constant renewal of innovative ideas. On the other hand, it is different from the traditional Zheng music in seven aspects, such as the structure of modern Zheng music, the scale of tone, the technique of playing, the layout of harmony, the tone and sound, the rhythm and the form of performance. The fourth chapter, in view of the modern Zheng music innovation causes the ponder: on the one hand, the modern Zheng music innovation must obtain the balance with the esthetics, clearly recognizes the dialectical unity relations between the two; on the other hand, Nowadays, the art of Zheng music mainly focuses on the academic-oriented specialized education, and the academicians gradually westernize, thus neglecting the deduction of the traditional Zheng music styles, and the traditional Zheng music development road is getting narrower and narrower. What is the significance of developing the traditional Zheng school and how to develop in the future should be paid enough attention to.
【學(xué)位授予單位】：江西師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2012
【分類號】：J632.32

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