【摘要】： 潮州箏派中左手各種作韻技法的運(yùn)用是潮州箏的一大特點(diǎn)。潮州箏派中的“活五調(diào)”是最能體現(xiàn)潮州箏派風(fēng)韻特色的一種調(diào)式,箏曲《柳青娘》則是潮州箏派中最具代表性的傳統(tǒng)樂曲之一。 本文首先論述了活五調(diào)的音階特點(diǎn)及潮州箏曲《柳青娘》的來源和調(diào)式特點(diǎn),接著選取了林毛根、高哲睿、蘇文賢三位箏曲演奏家的三首不同演奏版本的活五調(diào)《柳青娘》樂曲,重點(diǎn)分析了三首樂曲中的重三音(↓7)、重六音(↑4)及五音(2)的變化使用,從而得出三首樂曲在作韻手法上的不同特點(diǎn),闡述了潮州箏派獨(dú)特的作韻特色。繼而通過對三位箏曲演奏家生平及演奏風(fēng)格的介紹,得出三首活五調(diào)《柳青娘》在演奏上所表現(xiàn)出不同作韻特色的原因,以及給現(xiàn)代演奏者的啟示。
[Abstract]:The use of left hand rhyming techniques in Chaozhou Zheng School is a major feature of Chaozhou Zheng. "living five tones" in Chaozhou Zheng School is one of the most typical traditional music of Chaozhou Zheng School. This paper first discusses the characteristics of the scale of living five tones and the origin and mode of Chaozhou Zheng song Liu Qingniang, and then selects Lin Maogen, Gao Che-rui, The three Zheng musicians from Su Wen-yin, who played three different versions of living-five tunes (Liu Qingniang), focused on analyzing the changes in the use of three of the three pieces of music, namely, three notes (7), six notes (4) and five notes (2). The different characteristics of three pieces of music in rhyming techniques are obtained, and the unique rhyme characteristics of Chaozhou Zheng School are expounded. Then, through the introduction of the life and style of the three zither musicians, the reasons for the different rhyme characteristics of Liu Qingniang and the inspiration for the modern performers are obtained.
【學(xué)位授予單位】：南京藝術(shù)學(xué)院
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2009
【分類號】：J632.32

【引證文獻(xiàn)】

相關(guān)期刊論文 前1條

1 丁雯嫻;;潮州箏曲《寒鴉戲水》的演奏特點(diǎn)[J];長春理工大學(xué)學(xué)報;2012年03期

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本文編號：2394917