本文選題：新箏 + 三木稔��； 參考：《河北師范大學(xué)》2009年碩士論文

【摘要】： 三木稔,日本著名作曲家,1930年出生于日本德島市,畢業(yè)于東京藝術(shù)大學(xué)作曲系。他的音樂(lè)創(chuàng)作形式多樣,體裁廣泛,涉足到聲樂(lè)、合唱、歌劇、民族器樂(lè)、室內(nèi)樂(lè)、交響樂(lè)等領(lǐng)域。他創(chuàng)作了大量的邦樂(lè)作品,被譽(yù)為“日本邦樂(lè)第一人”。1969年,他開(kāi)始致力于日本新箏(二十一弦箏)的研制,并為其創(chuàng)作許多獨(dú)奏、合奏、協(xié)奏作品。現(xiàn)代箏組曲《箏譚詩(shī)集》就是三木稔歷經(jīng)21年(1969年-1990年)的心血而創(chuàng)作的一部箏獨(dú)奏曲集。 本文以三木稔的箏組曲《箏譚詩(shī)集》為研究對(duì)象,從音樂(lè)本體的研究出發(fā),以音樂(lè)的曲式結(jié)構(gòu)、調(diào)式音階、箏的定弦法以及主題動(dòng)機(jī)構(gòu)成等方面的研究為明線;以時(shí)代背景、標(biāo)題含義、日本文化及審美意識(shí)為暗線;以理論研究法和比較研究法雙向進(jìn)行,結(jié)合筆者多年的古箏演奏經(jīng)驗(yàn),以及親赴日本,對(duì)作曲家本人的訪談、學(xué)習(xí),親身感受日本音樂(lè)文化和民俗傳統(tǒng),而進(jìn)行綜合研究。 本文對(duì)箏組曲《箏譚詩(shī)集》在結(jié)構(gòu)、調(diào)式以及旋律創(chuàng)作手法等方面進(jìn)行了深入、細(xì)致地分析研究;對(duì)作品的創(chuàng)作背景、創(chuàng)作理念以及日本箏樂(lè)的發(fā)展、日本箏的定弦法和新箏的改良進(jìn)行較為系統(tǒng)地論述;同時(shí),對(duì)三木稔先生的創(chuàng)作思想、作品的藝術(shù)特征以及支撐該作品的日本文化中的“幽玄”美意識(shí)進(jìn)行了論證;最終,引申到對(duì)我國(guó)新箏音樂(lè)的創(chuàng)作而產(chǎn)生的影響進(jìn)行了概括總結(jié),并得出結(jié)論。 七聲、多聲弦制古箏的改革與發(fā)展目前在中國(guó)仍處于起步階段,筆者希望通過(guò)對(duì)本課題的研究,對(duì)中國(guó)箏樂(lè)的發(fā)展能產(chǎn)生一定的啟示,進(jìn)而能在箏界乃至音樂(lè)界對(duì)中國(guó)新箏的改革和創(chuàng)作引發(fā)討論與思考,起到拋磚引玉的作用。
[Abstract]:Mitsuki, a famous Japanese composer, was born in Tokushima, Japan in 1930, graduated from Tokyo Art University. His musical forms and genres are varied, and he has been involved in vocal music, chorus, opera, national instrumental music, chamber music, symphony and so on. In 1969, he began to devote himself to the development of the new Japanese zither (21 zither), for which he created many solo, ensemble, and coital works. The Modern Zheng Suite, Zheng Tan Poems, is a collection of zither solos, which was composed by Sanumurin after 21 years of painstaking work (1969-1990). Based on the study of Musical Noumenon, the musical structure, the scale of the tune, the method of determining the string of the zither and the composition of the theme motivation, etc., as the research object, the thesis takes the composition of the Zheng Suite as the research object, and takes the background of the times as the background. The meaning of the title is that Japanese culture and aesthetic consciousness are taken as the dark lines, the theoretical research method and the comparative research method are used in both directions, combined with the author's many years of experience in playing the zither, as well as personally going to Japan to interview and study the composer himself, Experience Japanese music culture and folk traditions, and conduct a comprehensive study. This paper makes a thorough and detailed analysis and study on the structure, mode and melody creation techniques of Zheng Suite "Zheng Tan Poems", as well as on the creation background, creative idea and the development of Japanese Zheng music. At the same time, it demonstrates the creative thought, the artistic characteristics of the works and the "Youxuan" beauty consciousness in the Japanese culture that supports the works. The author generalizes and summarizes the influence on the creation of new Zheng music in China and draws a conclusion. At present, the reform and development of Qisheng system is still in its infancy in China. The author hopes that through the study of this subject, it will give some enlightenment to the development of Chinese zither music. It can lead to discussion and reflection on the reform and creation of the new Zheng in the Zheng and even music circles.
【學(xué)位授予單位】：河北師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2009
【分類(lèi)號(hào)】：J605

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相關(guān)期刊論文 前2條

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本文編號(hào)：1821022