本文選題：鋼琴伴唱《紅燈記》的創(chuàng)作 + 和聲分析　； 參考：《東北師范大學(xué)》2011年碩士論文

【摘要】：鋼琴伴唱《紅燈記》創(chuàng)作于文化大革命時期,是殷承宗等藝術(shù)家們?yōu)榱送炀蠕撉偎囆g(shù)所瀕臨的生存危機,在這種特殊的歷史背景和文化環(huán)境中所創(chuàng)造出的全新藝術(shù)形式,至今廣為流傳。它是在樣板戲京劇《紅燈記》原唱腔的基礎(chǔ)上,根據(jù)原劇跌宕起伏的劇情(中國共產(chǎn)黨領(lǐng)導(dǎo)中國人民進(jìn)行抗日武裝斗爭)在伴唱形式上加以改編的藝術(shù)作品,鋼琴伴唱《紅燈記》以唱腔旋律為主,在伴奏中巧妙地運用了鋼琴織體、節(jié)奏、色彩等方面的特點,不斷地與單聲部的傳統(tǒng)樂器相結(jié)合,使和聲適應(yīng)了京劇的唱腔,從而在藝術(shù)史上開辟了鋼琴伴奏京劇的先河。又因其高度的藝術(shù)性、觀賞性,尤其是符合當(dāng)時政治宣傳的需求,曾一度被奉為現(xiàn)代革命京劇,并與八大樣板戲等高,成為文化大革命的典范,在文革期間紅遍了祖國的大江南北。鋼琴伴唱《紅燈記》構(gòu)建了西洋樂器之王與中國民族藝術(shù)之間的橋梁,不但融入了民族藝術(shù)的傳統(tǒng)元素,還借鑒了歐洲古典和聲理論、歐洲晚期浪漫派以及19世紀(jì)末俄羅斯民族樂派的特點,使傳統(tǒng)藝術(shù)不斷地推陳出新,與世界接軌。本文從鋼琴伴唱《紅燈記》的版本、內(nèi)容等方面著筆,對作品的唱腔、和聲進(jìn)行了深入的分析,對作品所借鑒的和聲風(fēng)格、作品的理論意義及對現(xiàn)實的思考等方面問題進(jìn)行了全面的探究。
[Abstract]:Piano accompaniment "Red Lantern" was created during the Cultural Revolution. It is a new art form created by Yin Chengzong and other artists in order to save the survival crisis of piano art in this special historical background and cultural environment. It is now widely spread. On the basis of the original singing of the Beijing Opera "Red Lantern Chronicles," it is an artistic work adapted in the form of accompaniment according to the ups and downs of the original drama (the Communist Party of China leads the Chinese people in the anti-Japanese armed struggle). The piano accompaniment "the Red Lantern" is mainly composed of singing melody. In the accompaniment, the characteristics of piano texture, rhythm, color, and so on are used skillfully, and the harmony is constantly combined with the traditional instruments in the monophonic part, so that the harmony adapts to the singing of Beijing Opera. Thus, in the history of art, the piano accompaniment to Beijing Opera pioneered. Because of its high artistic and ornamental quality, especially in line with the demands of political propaganda at that time, it was once regarded as a modern revolutionary Peking Opera, and was also regarded as a model of the Cultural Revolution with the eight model operas. During the Cultural Revolution, the great rivers and the north and south of the motherland were red. The piano accompaniment "Red Lantern" constructs a bridge between the king of western musical instruments and Chinese national art. It not only integrates the traditional elements of national art, but also draws lessons from European classical harmony theory. The characteristics of the late European Romantic School and the Russian National Music School at the end of the 19th century make the traditional art constantly bring forth the old and bring it into line with the world. This article from the piano accompaniment "Red Lantern" version, content and other aspects of the work of the singing, harmony in-depth analysis, the work of the style of harmony, The theoretical significance of the works and the thinking of reality and other aspects of a comprehensive exploration.
【學(xué)位授予單位】：東北師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2011
【分類號】：J624.1

【引證文獻(xiàn)】

相關(guān)碩士學(xué)位論文 前2條

1 王寅;京劇元素在中國鋼琴作品中的應(yīng)用[D];內(nèi)蒙古師范大學(xué);2013年

2 方璀;中國鋼琴獨奏樂曲中京劇元素的運用探究[D];華中師范大學(xué);2013年

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本文編號：2031972