本文選題：亨利·維厄當(dāng) + 炫技創(chuàng)作手法�。� 參考：《星海音樂學(xué)院》2010年碩士論文

【摘要】： 亨利·維厄當(dāng)(Henri Vieuxtemps,1820-1881)是比利時(shí)近代小提琴藝術(shù)史上一位重要的演奏家和作曲家,在歐洲小提琴音樂文化發(fā)展過程中起到歷史性作用。 維厄當(dāng)?shù)囊魳窐?gòu)思、表演藝術(shù)及創(chuàng)作出前人未有的音樂詞匯對現(xiàn)代小提琴演奏技巧的發(fā)展有著很大的影響,他所創(chuàng)作的第五小提琴協(xié)奏曲也成為小提琴文獻(xiàn)中膾炙人口的上乘精品。在我國,對維厄當(dāng)演奏風(fēng)格和作品研究還相當(dāng)匱乏,因此本文擬選取維厄當(dāng)小提琴協(xié)奏曲中最具代表作品之一的第五小提琴協(xié)奏曲作為論題,對其進(jìn)行展開性研究。 本論文共分為五部分,先對維厄當(dāng)?shù)难芯楷F(xiàn)狀做評述,再從影響維厄當(dāng)演奏和創(chuàng)作的背景等因素、音樂本體分析、所使用的小提琴演奏技巧以及藝術(shù)價(jià)值等五個(gè)方面對作品進(jìn)行研究和論述。第一部分總結(jié)之前已有的論著專著介紹,并概說出理論意義與實(shí)際意義;考慮到維厄當(dāng)既是小提琴演奏家、又是作曲家的身份,他自身的演奏與創(chuàng)作關(guān)系是不可分割的,因而在第二部分中對作曲家演奏與創(chuàng)作的背景進(jìn)行分析,梳理出成因及之間的關(guān)系,對下一部分中的細(xì)部分析作理論依據(jù)支撐;第三部分對作品文本作分析,從微觀角度對作品整體結(jié)構(gòu)、內(nèi)部句法組織特征、音樂主題形象等作分析,通過細(xì)致的本體分析,闡釋作品的細(xì)部特征;第四部分從小提琴演奏的角度對作曲家如何使用的炫技創(chuàng)作手法以及凸顯小提琴樂器性能的音樂詞匯結(jié)構(gòu)特點(diǎn)作分析,并對該部作品反映維厄當(dāng)?shù)恼w創(chuàng)作的思想和風(fēng)格特征作探討。最后總結(jié)部分是對該作品作客觀評價(jià),試圖對該部作品在小提琴藝術(shù)發(fā)展史上的地位作出客觀的評價(jià)。
[Abstract]:Henri Vieuxtempsn 1820-1881) is an important performer and composer in the modern history of violin art in Belgium and plays a historic role in the development of European violin music culture. Weyerdang's musical conception, performing arts and the creation of music words that had never been known before had a great impact on the development of modern violin playing techniques. His Fifth Violin Concerto has also become the most popular fine violin literature. In our country, the study of Weidan performance style and works is still quite scarce, so this paper chooses Violin Concerto No. 5, one of the most representative works of Violin Concerto, as the topic of this thesis. This thesis is divided into five parts. Firstly, it reviews the current situation of Weidan's research, and then analyzes the music ontology from the factors such as the background of Weidan's performance and creation. The violin playing techniques and the artistic value of the five aspects of the works are studied and discussed. The first part summarizes the introduction of previous monographs, and outlines the theoretical and practical significances. Considering that Weidan is both a violinist and a composer, the relationship between his own performance and creation is inseparable. So in the second part of the composer performance and creation of the background analysis, combing out the causes and the relationship between the next part of the detailed analysis of the theoretical basis for support; the third part of the text of the work analysis, From the microcosmic point of view, the author analyzes the overall structure of the work, the internal syntactic organization characteristics, the musical theme image, and explains the detailed features of the work through the detailed ontology analysis. In the fourth part, from the point of view of violin performance, the author analyzes the creative techniques of the composer and the characteristics of the musical vocabulary structure that highlights the performance of the violin instrument. And discusses the thought and style characteristic of the whole creation of Wheeldang reflected in this work. The last part is the objective evaluation of the work, trying to make an objective evaluation of the position of the work in the history of violin art development.
【學(xué)位授予單位】：星海音樂學(xué)院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2010
【分類號(hào)】：J622.1

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相關(guān)期刊論文 前6條

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本文編號(hào)：1965542