【摘要】：王建中先生是我國著名的作曲家、鋼琴教育家，也是我國少數(shù)幾個幾乎只創(chuàng)作鋼琴作品的作曲家之一。從五十年代他畢業(yè)于上海音樂學(xué)院鋼琴系并留校以來，四十多年的創(chuàng)作生涯，留下了幾十首膾炙人口的鋼琴作品。如：《云南民歌五首》、《陜北民歌四首》《梅花三弄》、《百鳥朝鳳》、《瀏陽河》等。他創(chuàng)作的這些鋼琴作品已經(jīng)成為具有典型中國風(fēng)格的鋼琴作品的代表作，因而常常在國內(nèi)、國際舞臺上演出。這不僅是因?yàn)樗淖髌分辛髀冻龅摹爸袊碧厣鹇牨姷牡墓缠Q，更是因?yàn)樗淖髌凤@示出很強(qiáng)的專業(yè)性和頗高的藝術(shù)價值。本文就以他的鋼琴作品(主要是改編曲)為研究對象，從多聲技法(以和聲技法為主，結(jié)合旋律、織體、復(fù)調(diào)等)的各個方面來進(jìn)行分析和研究。這對于探索在音樂創(chuàng)作中融入民族風(fēng)格的某些特質(zhì)、借鑒某些近現(xiàn)代技術(shù)手法，拓展創(chuàng)作思路，繁榮我國音樂創(chuàng)作，具有現(xiàn)實(shí)和理論意義。 全文包括引言、正文和結(jié)語三部分。引言部分主要介紹王建中先生的創(chuàng)作生涯和鋼琴作品創(chuàng)作概況。正文分為二大部分，第一部分主要是對其作品和聲技法的研究，分別從和弦結(jié)構(gòu)、和聲進(jìn)行、調(diào)式調(diào)性等不同角度的特點(diǎn)來對其和聲上的民族風(fēng)格手法進(jìn)行詳細(xì)而深入的歸納總結(jié)。第二部分是結(jié)合旋律、織體、復(fù)調(diào)等方面表現(xiàn)出來的民族化特征進(jìn)行簡要分析。結(jié)語部分則對王建中鋼琴作品民族風(fēng)格特點(diǎn)和創(chuàng)作個性特征以及對當(dāng)今鋼琴音樂創(chuàng)作的啟示等來進(jìn)行概述。
[Abstract]:Mr. Wang Jianzhong is a famous composer, piano educator and one of the few composers who only create piano works. Since he graduated from the piano department of Shanghai Conservatory of Music in the 1950s and stayed in school, more than 40 years of creative career, left dozens of popular piano works. Such as: Yunnan Folk songs five songs, Northern Shaanxi Folk songs four songs > Mei Hua San Nong >, hundred Birds Chaofeng >, Liuyang River, etc. His piano works have become the representative works of typical Chinese style and are often performed on the domestic and international stage. This is not only because of the "Chinese" characteristics of his works, which resonate with the audience, but also because his works show strong professionalism and high artistic value. In this paper, his piano works (mainly adapted music) as the research object, from the multi-sound techniques (mainly harmony techniques, combined with melody, texture, polyphonic, etc.) to analyze and study the various aspects. It is of practical and theoretical significance to explore some characteristics of national style in music creation, to draw lessons from some modern and modern techniques, to expand creative ideas, and to flourish music creation in our country. The full text includes the introduction, the text and the conclusion three parts. The introduction mainly introduces Mr. Wang Jianzhong's creative career and the general situation of his piano works. The text is divided into two parts. The first part mainly studies the harmony techniques of his works, respectively from the chord structure, harmony. The characteristics of tonality and other different angles to its harmony on the national style of detailed and in-depth summary. The second part is a brief analysis of the national characteristics of melody, texture, polyphony and so on. The conclusion part summarizes Wang Jianzhong's national style and creative personality of his piano works, as well as his inspiration to today's piano music creation.
【學(xué)位授予單位】：湖南師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2004
【分類號】：J624.1

【引證文獻(xiàn)】

相關(guān)期刊論文 前1條

1 曾嫻;;鋼琴曲《梅花三弄》的文化性分析[J];時代文學(xué)(下半月);2012年04期

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1 夏佳;《百鳥朝鳳》多種樂器演繹之比較研究[D];湖南師范大學(xué);2011年

2 鞠真;王建中鋼琴改編曲的民族特色研究[D];山東師范大學(xué);2012年

3 鄭遠(yuǎn);二十世紀(jì)下半葉中國鋼琴音樂創(chuàng)作初探[D];福建師范大學(xué);2006年

4 賴濤;質(zhì)樸的語言，深厚的情感[D];山東師范大學(xué);2008年

5 馬曉霜;論王建中鋼琴音樂創(chuàng)作手法及演奏技巧[D];西安音樂學(xué)院;2012年

6 賈瑞娜;試論王建中鋼琴改編曲《云南民歌五首》[D];山西大學(xué);2013年

7 劉瑞程;新中國十七年時期鋼琴音樂民族化特征研究[D];沈陽音樂學(xué)院;2012年

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本文編號：2354578