本文選題：中提琴 + 演奏技術(shù)�。� 參考：《上海音樂學(xué)院》2010年碩士論文

【摘要】： 中提琴由一件原先僅僅是充當(dāng)室內(nèi)樂重奏和交響樂隊(duì)內(nèi)聲部伴奏角色的樂器發(fā)展到今天這樣一個擁有個性特色、技巧日益完善、藝術(shù)表現(xiàn)力空前豐富,可以以獨(dú)奏身份立足舞臺的樂器,無疑是一歷史性的飛躍。本論文選擇了貝拉·巴托克的中提琴協(xié)奏曲和喬治·利蓋蒂的中提琴無伴奏奏鳴曲這兩部作品作為分析對象,論述它們對中提琴演奏技術(shù)的發(fā)展所作出的貢獻(xiàn)。 一件樂器具有很強(qiáng)大的音樂表現(xiàn)力,包括很多的方面,音色的變化、音域的寬泛,以及所演奏作品中的各種音樂要素等等。然而演奏技術(shù)的多樣性無疑是一個非常重要的條件。本文之所以選擇這兩首作品作為分析對象,是因?yàn)檫@兩部作品對中提琴演奏技術(shù)的發(fā)展有著突出的意義。其中出現(xiàn)的很多高難度,甚至是創(chuàng)新性的演奏技術(shù)是之前或者同時期的作品中所沒有的。20世紀(jì)是中提琴演奏非常輝煌的一個時期。許多優(yōu)秀的演奏家和專門寫給中提琴的經(jīng)典作品都是產(chǎn)生于此。在同一時期的作品中,巴托克這首協(xié)奏曲對中提琴演奏技術(shù)的發(fā)展是非常突出的,大量高音和快速音群的演奏,非傳統(tǒng)音程構(gòu)成的雙音及和弦給左手帶來的“不便”,多調(diào)式的民歌主題旋律給音準(zhǔn)帶來的考驗(yàn)等等技術(shù),都是別的作品所不能及的。而利蓋蒂于20世紀(jì)末為中提琴寫下的這首無伴奏奏鳴曲,更是用微分音,極端音區(qū)、機(jī)械性節(jié)奏運(yùn)動,雙泛音等演奏技法,讓中提琴的演奏技術(shù)達(dá)到一個巔峰。 本文由三個章節(jié)構(gòu)成。第一個章節(jié)主要概述了在巴托克之前的中提琴演奏技術(shù)的整體水平狀況,分成16至18世紀(jì),19至20世紀(jì)兩個階段來概述；第二和第三章節(jié)采用具體分析的手法,并結(jié)合譜例,論述這兩部作品對中提琴演奏技術(shù)進(jìn)行的革新,是本文的重點(diǎn)。最后在第二和第三章節(jié)的基礎(chǔ)上,指出這兩首作品為發(fā)展中提琴演奏的技術(shù)做了突出的貢獻(xiàn),也正是由于演奏技法的創(chuàng)新,為提升中提琴的演奏地位、豐富其表現(xiàn)力器奠定了堅(jiān)實(shí)的基礎(chǔ)。
[Abstract]:The viola has evolved from an instrument that used to only serve as the accompaniment of chamber recitals and symphonic bands to a unique character, increasingly sophisticated skills, and an unprecedented abundance of artistic expression. The musical instrument which can stand on stage as a soloist is undoubtedly a historic leap. This thesis chooses Beira Bartok's viola concerto and George Ligatti's viola accompaniment sonata as the object of analysis, and discusses their contributions to the development of viola playing technology. A musical instrument has a strong musical expression, including many aspects, changes in timbre, wide range, and various musical elements in the work played. However, the diversity of playing techniques is undoubtedly a very important condition. The reason why this article chooses these two works as the analysis object is because these two works have the outstanding significance to the development of the viola playing technology. Many of the difficult, and even innovative, techniques that have emerged are not available in previous or contemporary works. The 20th century is a very glorious period for viola playing. Many excellent performers and classical works dedicated to the viola are produced here. In the works of the same period, Bartok's concerto was very outstanding for the development of viola playing technology. Multi-tone folk song theme melody to bring the test of sound and other techniques, are beyond the reach of other works. In the end of the 20th century, Ligatti wrote this accompaniment sonata for the viola, which used the techniques of differential sound, extreme sound area, mechanical rhythm movement, double overtone, etc, to make the viola playing technique reach a peak. This paper consists of three chapters. The first chapter mainly outlines the overall level of viola playing techniques before Bartok, divided into two stages from the 16th to the 18th century and the 19th to the 20th century. The second and third chapters use specific analytical techniques and combine with spectral examples. It is the focus of this paper to discuss the innovation of the two works to the viola playing technology. Finally, on the basis of the second and third chapters, it is pointed out that these two works have made outstanding contributions to the development of viola playing technology, and it is precisely because of the innovation of playing techniques that the two works are aimed at enhancing the status of viola playing. Enrich its expressionist to lay a solid foundation.
【學(xué)位授予單位】：上海音樂學(xué)院
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2010
【分類號】：J622.1

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相關(guān)期刊論文 前2條

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本文編號：1900825