本文選題：基礎(chǔ)練習(xí) + 《每日練習(xí)》��； 參考：《上海音樂(lè)學(xué)院》2009年碩士論文

【摘要】： 本文是對(duì)單簧管技術(shù)訓(xùn)練中的基礎(chǔ)練習(xí)的研究和探討。 基礎(chǔ)練習(xí)是一種日常的基本練習(xí),它概括和歸納了當(dāng)時(shí)期各類音樂(lè)作品的各種技術(shù)層面,意在使演奏者得以提前認(rèn)知和經(jīng)驗(yàn)將要演奏樂(lè)曲的技術(shù)類別。 全文共分三章。第一章為基礎(chǔ)練習(xí),由綜合能力至技術(shù)訓(xùn)練逐次遞進(jìn)引出本文的重點(diǎn)——基礎(chǔ)練習(xí)。本章分兩節(jié):第一節(jié)為綜合能力,闡述綜合能力的訓(xùn)練目的和綜合能力的訓(xùn)練途徑;第二節(jié)為技術(shù)訓(xùn)練,闡述技術(shù)訓(xùn)練的目的和技術(shù)訓(xùn)練的途徑。 第二章為貝爾曼《每日練習(xí)》,貝爾曼《每日練習(xí)》是建立在以調(diào)性音樂(lè)為主的作品基礎(chǔ)上,通過(guò)對(duì)該教材內(nèi)容的分類論述和分析,體現(xiàn)了對(duì)演奏非現(xiàn)代作品和現(xiàn)代作品的實(shí)用性和重要性。本章分三節(jié):第一節(jié)貝爾曼《每日練習(xí)》的內(nèi)容,對(duì)音階、琶音、模進(jìn)等主要音型的各種方式進(jìn)行梳理;第二節(jié)為貝爾曼《每日練習(xí)》的實(shí)用性,將貝爾曼《每日練習(xí)》與不同時(shí)期音樂(lè)作品的實(shí)際譜例結(jié)合進(jìn)行分析:第三節(jié)為貝爾曼《每日練習(xí)》的重要性,主要從四個(gè)技術(shù)方面闡述其意義和價(jià)值。 第三章為補(bǔ)充基礎(chǔ)練習(xí),筆者提出的補(bǔ)充基礎(chǔ)練習(xí)是建立在以無(wú)調(diào)性音樂(lè)為主的作品基礎(chǔ)上,通過(guò)對(duì)現(xiàn)代作品的研究和分析歸納出來(lái)的基礎(chǔ)練習(xí),體現(xiàn)了對(duì)演奏現(xiàn)代作品和非現(xiàn)代作品的實(shí)用性和重要性。本章分三節(jié):第一節(jié)為補(bǔ)充基礎(chǔ)練習(xí)的內(nèi)容,從音高、節(jié)奏、力度、速度等構(gòu)成音樂(lè)基本元素的四個(gè)方面論述這種方法;第二節(jié)為補(bǔ)充基礎(chǔ)練習(xí)的實(shí)用性,對(duì)現(xiàn)代作品為主的有關(guān)單簧管的音樂(lè)作品進(jìn)行實(shí)例分析并論證其實(shí)用性;第三節(jié)為補(bǔ)充基礎(chǔ)練習(xí)的重要性。 貝爾曼《每日練習(xí)》的內(nèi)容是以有調(diào)性的思維構(gòu)建的基礎(chǔ)練習(xí)方法,補(bǔ)充基礎(chǔ)練習(xí)的內(nèi)容則是以無(wú)調(diào)性的思維構(gòu)建的基礎(chǔ)練習(xí)方法,這是兩種不同角度、不同思路的練習(xí)方法。結(jié)合兩種基礎(chǔ)練習(xí),可以拓寬演奏者對(duì)演奏非現(xiàn)代作品和現(xiàn)代作品的提前認(rèn)知度。隨著時(shí)代的變遷,將會(huì)產(chǎn)生各種不同類別的新的音樂(lè)作品,不斷的提煉新的綦礎(chǔ)練習(xí)方法,將會(huì)更大程度的提高和豐富演奏者的技術(shù)并日趨完善。
[Abstract]:In this paper, the basic training of clarinet technique is studied and discussed. Basic exercise is a daily basic exercise, which summarizes and summarizes the various technical aspects of various musical works during the period, with a view to enabling players to recognize and experience the technical categories of the music to be played ahead of time. The full text is divided into three chapters. The first chapter is the basic exercise, from comprehensive ability to technical training step by step leads to the focus of this paper-basic exercise. This chapter is divided into two sections: the first section is the comprehensive ability, the purpose of the comprehensive ability and the training way of the comprehensive ability, the second section is the technical training, the purpose of the technical training and the way of the technical training. The second chapter is Berman's Daily exercise. Berman's Daily exercise is based on the works of tonality music, through the classification and analysis of the content of the textbook. It reflects the practicability and importance of performing non-modern works and modern works. This chapter is divided into three sections: the first section of Belman's Daily exercise, the content of the scales, arpeggios, patterns and other major phonetic patterns to sort out, the second section is about the practicability of Berman's Daily exercise. Combining Berman's Daily exercise with practical examples of musical works in different periods, the third section is the importance of Berman's Daily exercise, which mainly expounds its significance and value from four technical aspects. The third chapter is the supplementary basic exercise, which is based on the works of atonal music, and is based on the research and analysis of modern works. It reflects the practicability and importance of playing modern and non-modern works. This chapter is divided into three sections: the first section is to supplement the content of basic exercises, from the pitch, rhythm, strength, speed and other four aspects of the basic elements of music to discuss this method, the second section is to supplement the practicability of basic exercises, This paper analyzes the clarinet music works mainly in modern works and proves its practicability. The third section is the importance of supplementary basic exercises. The content of Berman's Daily exercise is a basic exercise method constructed by tonal thinking, while the content of supplementary basic exercise is a basic exercise method constructed by anatonic thinking. The combination of two basic exercises can broaden the player's early recognition of non-modern works and modern works. With the change of times, there will be a variety of different types of new music works, constantly refining new methods of basic practice, will greatly improve and enrich the player's technology and become more and more perfect.
【學(xué)位授予單位】：上海音樂(lè)學(xué)院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2009
【分類號(hào)】：J621

【共引文獻(xiàn)】

相關(guān)期刊論文 前10條

1 張德歲;;話語(yǔ)標(biāo)記“你想”的成因及其語(yǔ)用修辭功能[J];安徽大學(xué)學(xué)報(bào)(哲學(xué)社會(huì)科學(xué)版);2009年05期

2 張勁秋;;《法顯傳》及《佛說(shuō)大般泥洹經(jīng)》總括范圍副詞考[J];合肥師范學(xué)院學(xué)報(bào);2010年05期

3 程志兵;;《西洋記》詞語(yǔ)考釋[J];合肥師范學(xué)院學(xué)報(bào);2011年04期

4 儲(chǔ)小e，

本文編號(hào)：1795742