本文選題：劉天華 + 二胡曲��； 參考：《武漢音樂學(xué)院》2009年碩士論文

【摘要】： 二胡曲《空山鳥語》是劉天華先生所創(chuàng)作的10首二胡獨奏曲其中之一,初稿創(chuàng)作于1918年,定稿于1928年,是一首描繪空山幽谷中百鳥鳴轉(zhuǎn)的寫意作品。其胞兄劉半農(nóng)先生曾以“空山不見人,但聞鳥語聲”的題詞來形容這首樂曲的美妙意境。在劉天華先生的10首二胡作品中,《空山鳥語》這首作品是有著十分重要地位的,它反映出“中國文人酷愛山水自然,把人與人的感情融化在山水景物之中,追求的是情在景中,景在情中,寓義于情義愈至,寓情于景情愈深。并且對于自然的描寫不是簡單地模擬,而是萬物進入心中,化為胸中的意象,已不同于自然的原始形態(tài),即所謂‘外師造化,中得心源’”(見胡志平:《胡琴曲中的新文人音樂——劉天華二胡曲審美特色初探》,《黃鐘》,1992年第4期)。本文主要通過對劉天華、蔣風(fēng)之、張韶、閔慧芬、宋飛五位演奏家所演奏的《空山鳥語》音響資料的音高、音數(shù)、速度、節(jié)奏、意境內(nèi)涵表現(xiàn)等方面進行分析,探討其各自的風(fēng)格特點、藝術(shù)特色,比較、研究不同時期最具代表性的五位演奏家的演奏版本,以獲得對二胡曲《空山鳥語》的審美情趣、意境內(nèi)涵、技法表現(xiàn)等更深層次的認(rèn)知,探討不同時期、不同的演奏家是如何在時代發(fā)展的流變中,在繼承的基礎(chǔ)上發(fā)揮其創(chuàng)造性作用的。
[Abstract]:The erhu song < empty mountain bird language > is one of the 10 erhu solos created by Mr. Liu Tianhua. The first draft was written in 1918 and was finalized in 1928. It is a freehand work depicting a hundred birds in the valley of the empty mountain. His brother, Mr. Liu Bannong, once described the wonderful mood of the music with the inscription of "no man, but the sound of bird language". In Mr. Liu Tianhua's 10 erhu works, "empty mountain bird language" has a very important position. It reflects that the Chinese literati are fond of the nature of the mountains and rivers, and melt the feelings between people and people in the scenery, the pursuit is in the scenery, the scenery is in the feeling, the more beautiful the feeling is, the deeper the scenery is, and the nature. The description is not a simple simulation, but the entry into the heart, and the image in the chest is different from the original form of nature, that is, "the teachers of the foreign teachers, the source of the heart '" (see Hu Zhiping: "the new literati music in the Hu Qin music - the aesthetic characteristics of Liu Tianhua erhu >," Huang Zhong >, the fourth period of 1992). This article mainly through to Liu Tianhua, The five performers of Chiang Feng, Zhang Shao, Min Huifen and Song Fei made an analysis of the pitch, the number, the speed, the rhythm and the connotation of the sound, which were played by the five performers of the "empty mountain bird language", and discussed their respective style and characteristics, artistic features and comparison, and studied the five most representative playing versions of the performers in different periods in order to obtain the erhu song < The aesthetic interest of the bird language in the empty mountain, the connotation of artistic conception and the expression of techniques, and so on, discuss how the different performers play their creative role on the basis of inheritance in different periods.
【學(xué)位授予單位】：武漢音樂學(xué)院
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2009
【分類號】：J632.21

【引證文獻】

相關(guān)碩士學(xué)位論文 前2條

1 朱曉斐;試論二胡演奏藝術(shù)中的共性與個性問題[D];天津音樂學(xué)院;2011年

2 王釔人;二胡曲《江河水》兩種演奏版本比較研究[D];南京藝術(shù)學(xué)院;2013年

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本文編號：1980358