本文選題：張新化 + 手風(fēng)琴　； 參考：《山東師范大學(xué)》2012年碩士論文

【摘要】：張新化是我國(guó)新一代手風(fēng)琴藝術(shù)家中為數(shù)不多的在手風(fēng)琴演奏、手風(fēng)琴教學(xué)、音樂創(chuàng)作以及學(xué)術(shù)理論研究領(lǐng)域均做出了較為突出成績(jī)的演奏家、作曲家之一。除了手風(fēng)琴作品，他的音樂創(chuàng)作還涉及了聲樂、音樂劇、舞劇、蒙古劇、電視片配樂等多個(gè)領(lǐng)域，但他更熱衷于在他最喜歡的樂器——手風(fēng)琴上進(jìn)行創(chuàng)作。他的作品曲調(diào)優(yōu)美、風(fēng)格多樣，大部分融入了我國(guó)的民族音樂元素，散發(fā)著濃郁的民族韻味，同時(shí)，這些作品的出現(xiàn)也積極地推動(dòng)了中國(guó)手風(fēng)琴音樂創(chuàng)作的民族化、多元化、專業(yè)化發(fā)展。 依據(jù)創(chuàng)作方法的不同，張新化的手風(fēng)琴作品可以分為創(chuàng)作類與改編類兩個(gè)部分。在創(chuàng)作類中，本文選取了三首極具代表性的風(fēng)格迥異的作品——手風(fēng)琴與樂隊(duì)《陰山巖畫印象——狩獵》、手風(fēng)琴二重奏《鄂倫春民歌主題變奏曲》和自由低音手風(fēng)琴獨(dú)奏曲《致弗蘭克·安吉列斯》，并從創(chuàng)作背景、音樂本體、演奏技巧三個(gè)方面進(jìn)行了較為深入細(xì)致的研究，進(jìn)一步展現(xiàn)了曲作者豐富的音樂表現(xiàn)手段以及扎實(shí)的創(chuàng)作功底。在改編類中，，本文選取了兩首具有代表性的中國(guó)作品——手風(fēng)琴與四胡四重奏《烏力格爾主題隨想曲》和手風(fēng)琴四重奏《驚蟄》，并從創(chuàng)作概況、音樂本體、演奏技巧三個(gè)方面進(jìn)行了深入分析，充分展現(xiàn)了手風(fēng)琴在演繹中國(guó)民族音樂以及與中國(guó)民族樂器合作過程中的靈活性與適應(yīng)性。 本文主要從五個(gè)部分對(duì)張新化的手風(fēng)琴作品進(jìn)行研究討論。 第一部分是引言，從上世紀(jì)三四十年代、新中國(guó)成立以后、文革時(shí)期、改革開放以來四個(gè)時(shí)段概述了中國(guó)手風(fēng)琴音樂的創(chuàng)作歷程，這也是對(duì)手風(fēng)琴音樂與我國(guó)本土音樂文化相互融合過程的簡(jiǎn)要回顧。 第二部分對(duì)張新化的生平及其音樂創(chuàng)作概況進(jìn)行介紹，分兩節(jié)來做詳細(xì)的闡述：第一節(jié)是作曲家生平簡(jiǎn)介；第二節(jié)介紹作曲家的音樂創(chuàng)作概況，主要包括手風(fēng)琴音樂創(chuàng)作與其他類音樂創(chuàng)作兩個(gè)方面。 第三部分張新化手風(fēng)琴作品分析是論文的主體部分。這一部分以三首風(fēng)格迥異的具有代表性的創(chuàng)作類手風(fēng)琴作品為切入點(diǎn)，分別從創(chuàng)作背景、音樂本體以及演奏技巧方面進(jìn)行全面細(xì)致的分析，力求發(fā)掘其中豐富的創(chuàng)作手法與音樂表現(xiàn)手段。主要分三節(jié)進(jìn)行闡述：第一節(jié)是手風(fēng)琴與樂隊(duì)《陰山巖畫印象——狩獵》；第二節(jié)是手風(fēng)琴二重奏《鄂倫春民歌主題變奏曲》；第三節(jié)是自由低音手風(fēng)琴獨(dú)奏曲《致弗蘭克·安吉列斯》。 第四部分是張新化手風(fēng)琴改編作品分析。這一部分以兩首演奏難度較大且具有代表性的中國(guó)手風(fēng)琴作品為切入點(diǎn)，分別從創(chuàng)作概況、音樂本體以及演奏技巧方面進(jìn)行深入細(xì)致的分析，力求展現(xiàn)手風(fēng)琴自身豐富的音樂表現(xiàn)力以及多元化的音樂表達(dá)方式。主要分兩節(jié)進(jìn)行闡述：第一節(jié)是手風(fēng)琴與四胡四重奏《烏力格爾主題隨想曲》；第二節(jié)是手風(fēng)琴四重奏《驚蟄》。 第五部分是結(jié)語，主要總結(jié)了張新化手風(fēng)琴音樂作品的研究?jī)r(jià)值以及張新化在中國(guó)手風(fēng)琴事業(yè)發(fā)展過程中所起到的積極推動(dòng)作用。
[Abstract]:Zhang Xinhua is one of the most outstanding players in accordion , accordion teaching , music creation and academic theories . Besides the accordion , his music creation also involves vocal music , musical drama , dance drama , Mongolian drama , TV drama , and so on . His works are beautiful and diverse . Most of them are integrated into national music elements of our country . They have also played an active part in the nationalization , diversification and professional development of Chinese accordion music creation .
According to the different methods of creation , Zhang Xinhua ' s accordion works can be divided into two parts : creation and adaptation . In the creation category , this paper has selected three representative works _ accordion and band Yinshan rock painting impression _ hunting game , accordion music body and performance technique .
This paper mainly discusses Zhang Xinghua ' s accordion works from five parts .
The first part is the introduction , from the 1930s and 1940s , after the founding of the new China , the period of the reform and opening up , the four periods outlined the history of Chinese accordion music , which is also a brief review of the process of mutual fusion of accordion music and local music culture in China .
The second part introduces Zhang Xinghua ' s life - level and his musical composition , which is explained in detail in two sections : the first section is the introduction of composer ' s life ;
The second section introduces the musical composition of composer , mainly including accordion music creation and other types of music creation .
The third part of Zhang Xinhua accordion works is the main part of the thesis . This part takes three typical creative accordion works with different styles as the entry points , and carries on a comprehensive and detailed analysis from the creation background , the music body and the playing skills , and tries to explore the rich creative technique and the musical performance means .
The second part is concerto the theme of the folk songs of the Errenchun folk song in the second part of accordion ;
The third is the free bass accordion solo , Frank Angiesthouse .
The fourth part is the analysis of the adaptation works of Zhang Xinhua accordion . This part takes two parts to play a great difficulty and has a representative Chinese accordion work as the entry point , from the author ' s general situation , the music body and the performance skills , to express the accordion ' s own rich musical expressive force and the diversified musical expression way .
The second section is the accordion ' s four - way play .
The fifth part is the conclusion , mainly summarizes the research value of Zhang Xinghua accordion music works and the positive driving role played by Zhang Xinghua in the development of accordion career in China .
【學(xué)位授予單位】：山東師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2012
【分類號(hào)】：J624.3

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本文編號(hào)：2110659