【摘要】： 音樂是聲音的藝術(shù)，鋼琴音樂也不例外。 聲音的“色彩”是傳承音樂風(fēng)格最重要的因素之一，也是演奏家表現(xiàn)音樂最主要的手段之一�！耙羯币辉~，說明了鋼琴家千變?nèi)f化的指觸所能獲得的永無窮盡的音響魅力。它滲透于全部的鋼琴作品中，是音樂風(fēng)格的標(biāo)志性體現(xiàn)，內(nèi)含著不同時代、不同作曲家的不同作品的“信息碼”。 本文著重探討了巴赫這位巴洛克時代復(fù)調(diào)大師的鍵盤作品的觸鍵與音色，參考了當(dāng)時的審美觀念、樂器構(gòu)造、音色特征及演奏傳統(tǒng)，結(jié)合幾位以演奏巴赫見長的著名鋼琴家的演奏風(fēng)格，較為深入地研究了巴赫作品的體裁、旋律形態(tài)、織體安排、結(jié)構(gòu)層次等與觸鍵、音色的關(guān)系，，并進一步提出，只有建立在對巴赫樂譜深入的分析和理解基礎(chǔ)上的演奏才是最具有說服力的，而將音色訓(xùn)練與音樂分析有機地結(jié)合起來，不但有助于音色的把握和控制，更有助于加深對音樂的理解和表達，是演奏者掌握巴赫音樂內(nèi)涵和風(fēng)格最有效的途徑之一。
[Abstract]:Music is the art of sound, and piano music is no exception. The color of sound is one of the most important factors in inheriting music style and one of the most important means for performers to express music. The term "timbre" illustrates the ever-changing sound charm that a pianist can acquire. It permeates all the piano works and is the symbolic embodiment of the music style. It contains the "information code" of different works of different times and different composers. This paper focuses on the touch keys and timbre of the keyboard works of Bach, a Baroque polyphonic master, referring to the aesthetic concept, musical instrument construction, timbre characteristics and playing tradition. Combined with the performance style of several famous pianists who are good at playing Bach, this paper deeply studies the relationship between the genre, melody form, texture arrangement, structure level and touch key and timbre of Bach's works. Only on the basis of deep analysis and understanding of Bach's music score is it most persuasive to play, and the combination of timbre training and music analysis is not only helpful to grasp and control timbre, It is one of the most effective ways for players to master the connotation and style of Bach's music.
【學(xué)位授予單位】：上海師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2003
【分類號】：J624.1

【引證文獻】

相關(guān)碩士學(xué)位論文 前2條

1 王林;羅薩琳·圖雷克對巴赫鍵盤作品詮釋的理論與實踐研究[D];上海師范大學(xué);2012年

2 齊麗花;鋼琴制造工藝與音律理論研究[D];山東藝術(shù)學(xué)院;2012年

本文編號：2370221