本文選題：十二平均律 + 純律　； 參考：《西北師范大學(xué)》2004年碩士論文

【摘要】： 音樂的樂律學(xué)理論有著非常悠久的歷史，早在中國(guó)的先秦時(shí)期，音樂的“律”和天人萬象就被認(rèn)為是有內(nèi)在聯(lián)系的事物，而律也一直受到重視和詳細(xì)的研究與計(jì)算。隨著科學(xué)技術(shù)的不斷發(fā)展、樂器制造技術(shù)的不斷提高，樂律不僅僅只是數(shù)理的計(jì)算，它越來越同實(shí)際的演奏聯(lián)系在一起并在理論上指導(dǎo)著我們的演奏。而小提琴作為西方音樂中的“樂器之母”，在人類歷史和藝術(shù)上是一種永遠(yuǎn)令人著迷的樂器，所以樂律學(xué)理論在小提琴的實(shí)際演奏過程中應(yīng)起什么樣的作用，而它又是如何指導(dǎo)小提琴進(jìn)行演奏的，就成為本文討論研究的重點(diǎn)。 全文共分三章，第一章對(duì)小提琴的發(fā)展成型及其結(jié)構(gòu)特征做一基本說明。第二章對(duì)三種律制進(jìn)行介紹、比較，并簡(jiǎn)單介紹了彈性十二平均律(復(fù)頻彈性十二平均律)的理論。第三章是本文的主體，通過對(duì)實(shí)際演奏譜例進(jìn)行律制分析，幫助我們?cè)诶碚撋狭私鈶?yīng)該如何演奏才可以音準(zhǔn)，以符合人們的聽覺審美要求。本文通過運(yùn)用“三律”包括“彈律”來進(jìn)行實(shí)際的演奏指導(dǎo)，雖然在演奏的過程中我們并不可能精確到幾分甚至十幾音分，但是它從理論上進(jìn)行了量化、數(shù)理化的分析，使我們不僅僅只是知道演奏這個(gè)音應(yīng)該高一點(diǎn)或者應(yīng)該低一點(diǎn)，而是有了具體的音分值進(jìn)行理論參照。同時(shí)更重要的是想讓每一位從事音樂工作、學(xué)習(xí)包括音樂愛好者了解，樂律學(xué)并不是象做算術(shù)題一樣只是數(shù)理化的研究，，它完全可以在我們的實(shí)際操作演奏過程中給予我們指導(dǎo)與幫助，并且有了樂律學(xué)理論的指導(dǎo)，將更有利于我們對(duì)音樂的藝術(shù)表現(xiàn)之完成。
[Abstract]:The theory of music law has a very long history. As early as the pre-Qin period in China, the "law" of music and the universal phenomena of heaven and man were considered to be the things with internal connection, and the law was always paid attention to and studied and calculated in detail. With the continuous development of science and technology and the continuous improvement of musical instrument manufacturing technology, music law is not only a mathematical calculation, it is more and more connected with the actual performance and guide our performance in theory. As the "mother of musical instruments" in western music, violin is a kind of musical instrument that is always fascinating in human history and art, so what kind of role should be played by the theory of music law in the actual process of violin playing? And it is how to guide the violin play, become the focus of this discussion. This paper is divided into three chapters. The first chapter describes the development and structure of violin. In the second chapter, three kinds of laws are introduced and compared, and the theory of elastic twelve mean law (complex frequency elastic twelve average law) is introduced briefly. The third chapter is the main body of this paper, through the analysis of the actual performance spectrum examples, it helps us to understand theoretically how to play in order to meet the aesthetic requirements of people's hearing. Through the use of "three laws" including "playing law" to guide the actual performance, although in the process of performance we can not be accurate to a few minutes or even a dozen notes, but it is theoretically quantitative, physical and chemical analysis. So that we not only know that playing this note should be a little higher or lower, but have a specific score for theoretical reference. At the same time, what is more important is to let everyone do music work, learning includes music lovers understand that music law is not just like doing math, physics and chemistry research. It can give us guidance and help in the course of our actual operation and play, and with the guidance of the theory of music law, it will be more conducive to the completion of our artistic expression of music.
【學(xué)位授予單位】：西北師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2004
【分類號(hào)】：J622.1

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本文編號(hào)：2045798