【摘要】：鋼琴即興伴奏是伴奏者根據(jù)一定的樂(lè)曲旋律,在事先沒(méi)有經(jīng)過(guò)縝密思考和充分準(zhǔn)備的情況下,比較快捷地把旋律所表達(dá)的意境、情感,通過(guò)鍵盤(pán)烘托出來(lái)的一種綜合性藝術(shù)。高等師范院校音樂(lè)學(xué)專業(yè)培養(yǎng)的學(xué)生,大多是以后的中小學(xué)音樂(lè)教師,在將來(lái)的課堂教學(xué)中,好的即興伴奏能夠幫助學(xué)生在歌唱時(shí)準(zhǔn)確地把握歌曲的節(jié)奏、速度、力度、情緒等,給歌唱者營(yíng)造出恰當(dāng)?shù)臓顟B(tài)與氛圍,以引導(dǎo)歌唱者進(jìn)入歌曲的情緒、烘托音樂(lè)氣氛,從而增強(qiáng)作品的表現(xiàn)力和感染力；而對(duì)于不會(huì)彈或彈不好即興伴奏的老師來(lái)說(shuō),學(xué)生上課時(shí)只是單調(diào)的旋律伴奏或雜亂無(wú)章的音的組合,漸漸地學(xué)生們會(huì)失去對(duì)歌唱的興趣,甚至是對(duì)音樂(lè)課的興趣,這對(duì)我們的音樂(lè)素質(zhì)教育顯然是非常不利的。因此,鋼琴即興伴奏的好壞,已經(jīng)成為了衡量教師業(yè)務(wù)水平和工作能力的重要尺度之一。尤其是在當(dāng)今日益嚴(yán)峻的就業(yè)背景下,這項(xiàng)技術(shù)已經(jīng)成為了高師畢業(yè)生增強(qiáng)就業(yè)的核心競(jìng)爭(zhēng)力。如何提高高師學(xué)生的鋼琴即興伴奏能力,也已成為培養(yǎng)面向21世紀(jì)應(yīng)用型人才的重要研究課題。 在鋼琴即興伴奏中,首先要涉及的就是和聲應(yīng)用的問(wèn)題。和聲的應(yīng)用包括橫向(和聲語(yǔ)匯、和聲節(jié)奏、和聲布局)與縱向(和聲織體)兩個(gè)方面,這也正是鋼琴即興伴奏中最重要的兩個(gè)方面。從某種意義上來(lái)說(shuō),鋼琴即興伴奏學(xué)習(xí)的過(guò)程就是提高和聲應(yīng)用能力的過(guò)程。 隨著音樂(lè)教育事業(yè)的發(fā)展,鋼琴即興伴奏也越來(lái)越受到重視,在鋼琴即興伴奏的理論方面也有了很大的研究成果。筆者通過(guò)查閱這方面的文獻(xiàn)和論文,發(fā)現(xiàn)由于研究的角度和側(cè)重點(diǎn)不同,針對(duì)高師鋼琴即興伴奏的和聲應(yīng)用方面還存在著一些問(wèn)題和不足。首先,在和弦的運(yùn)用方面,有些教材的和聲語(yǔ)匯過(guò)于復(fù)雜化,超出了高師大多學(xué)生的認(rèn)知能力,在歌曲的實(shí)際運(yùn)用中也達(dá)不到運(yùn)用的效果,很多教材中練習(xí)譜例也選擇不當(dāng),大量純技術(shù)單調(diào)的和弦連接,枯燥無(wú)味,損害了學(xué)生的彈奏興趣。教材中對(duì)民族調(diào)式歌曲和現(xiàn)代通俗歌曲和弦編配理論也不完善。第二,在論述配彈的整體設(shè)計(jì)中,針對(duì)的大多是伴奏織體,對(duì)和聲布局的整體設(shè)計(jì)與應(yīng)用方法,這方面的論述也不完善；第三,就是鋼琴即興伴奏與其它學(xué)科融合的理論也不全面,幾十年來(lái)形成的一套傳統(tǒng)的教學(xué)模式,使高師的和聲教學(xué)陷入了自我封閉的本本主義之中。缺乏與和聲課、鋼琴課、視唱課等相關(guān)課程的結(jié)合。不能充分發(fā)揮多學(xué)科相互滲透教學(xué)的積極作用。這些問(wèn)題和不足之處,也正是學(xué)生們?cè)诟枨鋸椫写嬖诘膯?wèn)題。 鑒于上述問(wèn)題及筆者對(duì)即興伴奏的熱愛(ài)與追求,加上我國(guó)在即興伴奏方面的研究與國(guó)外相比還相差甚遠(yuǎn),有關(guān)即興伴奏的期刊與其它音樂(lè)理論相比也是捉襟見(jiàn)肘。筆者選擇即興伴奏中和聲的應(yīng)用進(jìn)行習(xí)文,本文將從和聲運(yùn)用的橫向方面：和聲語(yǔ)匯、和聲的布局與和聲節(jié)奏的整體設(shè)計(jì),以及鋼琴伴奏與相關(guān)學(xué)科的融合三方面來(lái)闡述鋼琴伴奏中和聲的應(yīng)用。以豐富鋼琴伴奏的理論,促進(jìn)鋼琴即興伴奏學(xué)科的發(fā)展。 本文第一章緒論,主要介紹鋼琴即興伴奏的定義及意義,來(lái)說(shuō)明這門(mén)學(xué)科的重要性；另一方面介紹和聲在鋼琴即興伴奏中的作用,以及高師學(xué)生在歌曲配彈中存在的三個(gè)問(wèn)題。 第二章是針對(duì)所提出的第一個(gè)問(wèn)題,主要對(duì)即興伴奏中三和弦、七和弦、變和弦及非三度疊置和弦的主要用法,進(jìn)行梳理和歸納,并結(jié)合歌曲譜例,來(lái)介紹伴奏中常用的和聲語(yǔ)匯 第三章針對(duì)第二個(gè)問(wèn)題,主要從歌曲的體裁、調(diào)式調(diào)性、曲式結(jié)構(gòu)三方面,并結(jié)合相關(guān)實(shí)例,來(lái)論述影響鋼琴即興伴奏和聲布局的因素。 第四章針對(duì)第三個(gè)問(wèn)題,從鋼琴即興伴奏教學(xué)與和聲教學(xué)、鋼琴教學(xué)及視唱教學(xué)三門(mén)學(xué)科的融合,來(lái)論述有效提高鋼琴即興伴奏和聲應(yīng)用的途徑。
[Abstract]:The piano impromptu accompaniment is a kind of comprehensive art that the accompaniment of the accompaniment is based on the melody of a certain melody, the artistic conception and the emotion expressed by the melody are quickly and quickly expressed through the keyboard without being carefully thought and fully prepared in advance. In the future classroom teaching, good impromptu accompaniment can help students accurately grasp the rhythm, speed, strength and mood of the song during singing. creating an appropriate state and atmosphere for the singer to guide the singer to enter the mood of the song, baking the music atmosphere, thereby enhancing the expression and the appeal of the work; and for the teacher who does not play or play the impromptu accompaniment, The students will lose their interest in singing and even interest in music lessons when they are in class. It is obviously very bad for our music quality education. Therefore, the impromptu accompaniment of piano has become one of the important scales to measure the professional level and ability of teachers. Especially in today's increasingly severe employment background, this technology has become the core competitive force of high school graduates to enhance employment. How to improve the piano improvisation ability of high school students has become an important research topic for cultivating application-oriented talents in the 21st century. In the piano impromptu accompaniment, the first thing to deal with is the sound application This is the most important two of the piano impromptu accompaniment, including horizontal (and acoustic vocabulary, harmony rhythm, and acoustic layout) and longitudinal (and acoustic) aspects. In a sense, the process of piano impromptu accompaniment learning is to improve and sound application ability With the development of music education, the impromptu accompaniment of piano has been paid more and more attention. Through consulting the literature and papers in this field, the author finds out that because of the different angle and focus of the research, there are still some problems in the acoustic application of the piano improvisation of the high teacher. There are some problems and deficiencies. First, in the aspect of the use of chords, some teaching materials and vocabularies are too complicated, beyond the cognitive ability of most students in the high divisions. In the actual application of the songs, they can not reach the effect of application. In many teaching materials, the practice spectrum is also selected improperly, and a large number of pure techniques are used. Monotonous chords connected, dull, and damaged Students' interest in playing. Chinese style songs and modern popular songs and chords in the teaching materials The theory is not perfect. Secondly, in discussing the whole design of the air distribution bomb, it is not perfect for the whole design and application of the accompaniment weave, the pair and the sound layout, and the third is the piano improvisation accompaniment and the other subjects. The theory is not comprehensive, and a set of traditional teaching mode has been formed for several decades, so that the high teacher's and sound teaching fall into self-closing. Of this doctrine. Lack of harmony and harmony, piano lessons, singing lessons, etc. The combination of related courses can't give full play to the mutual penetration of multi-disciplines The active role of teaching. These problems and deficiencies are also the students playing with songs In view of the above problems and the love and pursuit of impromptu accompaniment, combined with the study of impromptu accompaniment in our country, there is still a far cry from abroad, the periodical and other sounds about improvisation accompaniment. In comparison with the music theory, the author chooses the improvisation accompaniment and the application of the sound to study, this paper will learn from the horizontal aspects of the use of harmony: harmony vocabulary, the layout of harmony and the overall design of harmony rhythm, as well as the integration of piano accompaniment and related subject. The application of piano accompaniment. To enrich the theory of piano accompaniment, promote the piano accompaniment. The first chapter introduces the definition and significance of piano impromptu accompaniment, and explains the importance of this subject; on the other hand, the role of piano impromptu accompaniment and the high teacher are introduced. The second chapter is aimed at the first question put forward, mainly to the three chords, seven chords, the variable chord and the non-random overlapping chord in the improvisation accompaniment. To use, comb and summarize, and According to the song spectrum example, the third chapter of the common and acoustic vocabulary in accompaniment is introduced to solve the second problem, mainly from the genre of the song, the mode tonality, the curved structure, and the combination The fourth chapter aims at the third question, from the piano impromptu accompaniment teaching and the sound teaching, the piano teaching and the singing teaching.
【學(xué)位授予單位】：陜西師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2011
【分類號(hào)】：J624.1

【引證文獻(xiàn)】

相關(guān)期刊論文 前1條

1 劉婉嫻;;中職學(xué)前教育專業(yè)鋼琴即興伴奏課的教學(xué)思考[J];北方音樂(lè);2013年09期

相關(guān)碩士學(xué)位論文 前1條

1 陳姝璇;《鋼琴即興伴奏模式化訓(xùn)練教程》研究[D];湖南師范大學(xué);2012年

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本文編號(hào)：2268625