本文選題：江文也 + 風格轉(zhuǎn)變　； 參考：《東北師范大學》2011年碩士論文

【摘要】：從1980年江文也這個名字在中國的音樂界重新被重視起來,從此許許多多的人開始研究江文也先生的音樂作品。從1990年到1995年間,分別在香港、臺北、北京舉行了三次江文也研討會,可以說這五年間對江文也先生的研究到了最高峰。江文也先生的音樂創(chuàng)作,數(shù)量之多,領(lǐng)域之廣,是同時期的作曲家和之后的作曲家所無法比擬的。他創(chuàng)作風格的改變也是中國作曲界極少見的,在他回國后,極力的想擺脫日本音樂對他的影響,創(chuàng)造著屬于中國的民族調(diào)式音樂,并將他的音樂事業(yè)與中國音樂的發(fā)展緊緊地聯(lián)系在一起。所以說江文也先生對中國鋼琴曲創(chuàng)作的貢獻是不可忽視的。在創(chuàng)作技術(shù)上,他的大膽創(chuàng)新給中國的作曲界帶來了全新的視野,并成為鋼琴作曲界的帶頭人。 本文通過介紹江文也先生的生平簡介和江文也先生的音樂作品,總結(jié)了各時期的風格特點,從整體上了解作曲家江文也先生,從而針對研究江文也先生回國后過渡時期的鋼琴音樂創(chuàng)作。通過對江文也先生風格轉(zhuǎn)變期的第一部作品《北京萬華集》的音樂形象與演奏上的細致分析,了解到江文也先生的這個時期的創(chuàng)作風格和創(chuàng)作特點,和他主觀意識上的向中國風格的靠攏。《北京萬華集》這部作品在江文也的鋼琴音樂創(chuàng)作中,起到了承上啟下的作用,也為他今后的創(chuàng)作奠定了基礎(chǔ)。他音樂創(chuàng)作風格上的轉(zhuǎn)變,體現(xiàn)了他回歸祖國的真正意圖,就是運用國外的現(xiàn)代創(chuàng)作技法來創(chuàng)作本民族的音樂,通過這種手段來創(chuàng)造屬于自己的音樂風格,發(fā)揚中國的鋼琴音樂事業(yè)。這種風格上的轉(zhuǎn)變?yōu)橹袊匿撉僖魳穭?chuàng)作起到了良好的典范,闖出了一條新的創(chuàng)作道路,并做出了諸多的貢獻。
[Abstract]:Since 1980, when the name Jiang Wen was given new prominence in Chinese music circles, many people began to study Mr. Jiang Wen's music works. From 1990 to 1995, three Jiang Wen seminars were held in Hong Kong, Taipei and Beijing. The number and scope of Mr. Jiang Wen's music creation are incomparable to those of his contemporaries and later composers. The change in his writing style was also rare in the Chinese composing world. After he returned to China, he tried his best to get rid of the influence of Japanese music on him and to create the national music that belonged to China. And his music career and the development of Chinese music closely linked. Therefore, Mr. Jiang Wen's contribution to the creation of Chinese piano music should not be ignored. In terms of creative technology, his bold innovation brought a new vision to the Chinese composing world, and he became the leader of the piano composition field. By introducing Mr. Jiang Wen's life and Mr. Jiang Wen's musical works, this paper summarizes the style and characteristics of each period, so as to understand the composer Mr. Jiang Wen as a whole. In order to study the Jiang Wen also after the transition period of piano music creation. Through the detailed analysis of the music image and performance of Mr. Jiang Wen's first work, "Beijing Wanhua Ji", during the period of his style change, we can understand the creative style and creative characteristics of Mr. Jiang Wen in this period. "Beijing Wanhua Ji" plays a connecting role in Jiang Wen's piano music creation and lays a foundation for his future creation. The change in his musical creation style reflects his real intention to return to the motherland, that is, to use the modern creative techniques of foreign countries to create music of his own nation, and through this means to create his own music style. Carry forward China's piano music career. This kind of change in style has played a good role model in Chinese piano music creation, blazed a new way of creation and made a lot of contributions.
【學位授予單位】：東北師范大學
【學位級別】：碩士
【學位授予年份】：2011
【分類號】：J624.1

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本文編號：2052676