【摘要】： 手風(fēng)琴演奏藝術(shù)扎根于俄羅斯民間音樂(lè)熱土之中,它以獨(dú)特的表現(xiàn)魅力,從民間世俗領(lǐng)域拓展至專(zhuān)業(yè)領(lǐng)域,成為俄羅斯音樂(lè)文化不可或缺的組成部分。謝苗諾夫的手風(fēng)琴音樂(lè)作品不光具有濃郁民族風(fēng)格,而且還是運(yùn)用現(xiàn)代技法創(chuàng)作的具有民族特色的現(xiàn)代音樂(lè)風(fēng)格的作品。他以豐富的民族本土文化資源為創(chuàng)作根源,扎實(shí)的民族音樂(lè)功底為創(chuàng)作動(dòng)力,在吸收本民族音樂(lè)文化精髓的同時(shí),以開(kāi)放的姿態(tài)廣泛地接受和再造不同歷史時(shí)期藝術(shù)文化的各種素養(yǎng),創(chuàng)作出富有民族特點(diǎn)的兒童組曲。在六首兒童組曲中,無(wú)論是和聲進(jìn)行、織體發(fā)展,還是旋律走向以及民族風(fēng)格,無(wú)不透露出作曲家對(duì)傳統(tǒng)時(shí)代的并行,與此同時(shí)對(duì)現(xiàn)代風(fēng)格與創(chuàng)作手法的運(yùn)用,也展現(xiàn)于作品之中,使整部作品在不失傳統(tǒng)美的基礎(chǔ)上,表現(xiàn)出現(xiàn)代風(fēng)格“創(chuàng)新”的特征。謝苗諾夫用最簡(jiǎn)練、最自然的音樂(lè)語(yǔ)言描繪出一條條優(yōu)美而富于形象的旋律,讓人們?cè)诼?tīng)到這些旋律時(shí),既能聯(lián)想到兒童的鮮明形象,又能辨別出謝苗諾夫獨(dú)具魅力的旋律線條。 本文分四部分對(duì)這六首兒童組曲加以研究討論。 第一部分謝苗諾夫生平以及影響他手風(fēng)琴作品的創(chuàng)作因素。從兩個(gè)方面進(jìn)行闡述,首先,作曲家生平簡(jiǎn)介;其次,謝苗諾夫創(chuàng)作的動(dòng)因。 第二部分謝苗諾夫六首《兒童組曲》的風(fēng)格特征分析。這一部分通過(guò)微觀的分析和宏觀的歸納,對(duì)六首兒童組曲進(jìn)行詳盡的分析。首先從兒童組曲的本體研究入手,結(jié)合音樂(lè)思想內(nèi)涵分章節(jié)地對(duì)其曲式結(jié)構(gòu),旋律,織體,節(jié)奏節(jié)拍,調(diào)式調(diào)性等方面進(jìn)行全面分析;接著以此為基礎(chǔ)對(duì)《兒童組曲》的構(gòu)成特點(diǎn)進(jìn)行總結(jié)概括。 第三部分謝苗諾夫六首《兒童組曲》的音樂(lè)特點(diǎn)。謝苗諾夫在六首樂(lè)曲的創(chuàng)作上既表現(xiàn)出許多慣用的手法,又有獨(dú)特的技法孕育其中。本文將從音樂(lè)語(yǔ)言、風(fēng)格特征、作曲家巴揚(yáng)化創(chuàng)作思維以及內(nèi)心情感四個(gè)方面對(duì)作品的創(chuàng)作特點(diǎn)進(jìn)行闡述。 第四部分六首兒童組曲中演奏技術(shù)的應(yīng)用。對(duì)于音樂(lè)環(huán)境的描述是在演奏過(guò)程中主要是對(duì)作者的創(chuàng)作意圖和作品所表達(dá)的藝術(shù)環(huán)境的襯托。在該作品的演奏過(guò)程當(dāng)中,我們應(yīng)該把握作品總體風(fēng)格。六首《兒童組曲》的每一首樂(lè)曲在標(biāo)題的襯托下,都是一個(gè)充滿(mǎn)戲劇性的小故事,是一幅完美的生活畫(huà)面。
[Abstract]:The accordion playing art is rooted in the Russian folk music hot land, it with the unique performance charm, expands from the folk secular domain to the specialized domain, becomes the Russian music culture indispensable constituent. Semyonov's accordion music not only has a strong national style, but also uses modern techniques to create a modern musical style with national characteristics. He took the rich national native cultural resources as the source of creation, the solid foundation of national music as the creative power, and absorbed the essence of his own national music culture at the same time. With an open attitude, we widely accept and recreate various qualities of art and culture in different historical periods, and create children's suites with national characteristics. In the six children's suites, whether it is harmony, texture development, melodic trend and national style, all reveal the composer's parallel to the traditional times, at the same time, the use of modern style and creative techniques. It is also shown in the works, so that the whole work shows the characteristics of "innovation" in modern style on the basis of the traditional beauty. Semyonov painted beautiful and vivid melodies in the most concise and natural musical language, which made people think of the vivid images of children when they were heard. Also can distinguish Semyonov's unique charm melody line. This paper is divided into four parts to study and discuss the six children's suites. The first part is about Semyonov's life and the factors that influence his accordion works. First, the life of the composer, and secondly, the motivation of Semyonov's creation. The second part is about the stylistic analysis of Semyonov's six children's suites. In this part, six children's suites are analyzed in detail by micro-analysis and macro-induction. First of all, starting with the study of children's suites, this paper makes a comprehensive analysis on the structure, melody, texture, rhythm and tone of children's suites according to the connotation of music thoughts. Then, on the basis of this, the author summarizes and generalizes the composing characteristics of Children's Suite. The third part is about the musical characteristics of Semyonov's six children's suites. Semyonov in the creation of six pieces of music not only showed a lot of customary techniques, but also has a unique technique pregnant with them. This paper expounds the creative characteristics of the works from four aspects: musical language, style characteristics, composer Bayanization's creative thinking and inner feelings. The fourth part is the application of playing technique in six children's suites. The description of the musical environment is the background of the author's creative intention and the artistic environment expressed in the performance process. In the performance of the work, we should grasp the overall style of the work. Each of the six children's suites, set off by the title, is a dramatic little story, a perfect picture of life.
【學(xué)位授予單位】：山東師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2009
【分類(lèi)號(hào)】：J624.3

【引證文獻(xiàn)】

相關(guān)碩士學(xué)位論文 前2條

1 嚴(yán)海蒙;謝苗諾夫《保加利亞組曲》創(chuàng)作研究[D];河南大學(xué);2011年

2 吳伯麟;謝苗諾夫《奏鳴曲一號(hào)》創(chuàng)作手法與演奏技巧探究[D];南京師范大學(xué);2013年

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本文編號(hào)：2407486