本文關(guān)鍵詞：李遇秋手風(fēng)琴奏鳴曲研究　出處：《山東師范大學(xué)》2005年碩士論文　論文類型：學(xué)位論文

  更多相關(guān)文章： 李遇秋 手風(fēng)琴 奏鳴曲 民族化 創(chuàng)作思維

【摘要】：在傳入我國(guó)的西洋樂器中,手風(fēng)琴以其優(yōu)美的音色、寬廣的音質(zhì)以及豐富的表現(xiàn)力,在中國(guó)的樂器大舞臺(tái)上占有非常重要的位置。經(jīng)過近半個(gè)世紀(jì)的迅速發(fā)展,它已成為國(guó)內(nèi)最普及樂器中的一員,并且在演奏、教學(xué)以及與民族音樂文化相結(jié)合等方面均取得了令人矚目的成就。綜觀全局,中國(guó)手風(fēng)琴事業(yè)正處于一個(gè)蓬勃發(fā)展的時(shí)期。 李遇秋先生是對(duì)中國(guó)手風(fēng)琴藝術(shù)發(fā)展最具推動(dòng)力的專業(yè)作曲家,自八十年代重新開始手風(fēng)琴音樂創(chuàng)作生涯以來,至今仍默默耕耘著。李遇秋的手風(fēng)琴創(chuàng)作涉獵內(nèi)容廣泛,體裁不拘一格。在眾多的優(yōu)秀作品中,譜寫于世紀(jì)末的三首奏鳴曲是其在古稀之年的嘔心力作,也是當(dāng)代國(guó)內(nèi)手風(fēng)琴作品表率之作。本文以李遇秋的這三首奏鳴曲作為切入點(diǎn),從背景、曲式、調(diào)式調(diào)性、節(jié)奏節(jié)拍以及人文闡釋等多角度對(duì)其進(jìn)行了較為細(xì)致的剖析,挖掘作品真諦,著力探求這位特殊的音樂家在二十世紀(jì)末的特殊歷史階段中的音樂創(chuàng)作思維及成果,歸納其作品的風(fēng)格和個(gè)性特征,從而對(duì)其在中國(guó)手風(fēng)琴音樂發(fā)展中的作用給予客觀的歷史定位。 論文主體分為三大部分:第一部分,中國(guó)手風(fēng)琴音樂的創(chuàng)作歷程。以現(xiàn)代社會(huì)的發(fā)展進(jìn)程為參照,中國(guó)手風(fēng)琴音樂創(chuàng)作共經(jīng)歷了傳入期、啟蒙期、曲折前進(jìn)期和創(chuàng)新期四個(gè)階段,這是手風(fēng)琴音樂與我國(guó)本土文化相交融過程的回顧和發(fā)展現(xiàn)狀的簡(jiǎn)要論述。第二部分,李遇秋——手風(fēng)琴藝術(shù)民族化的旗幟。主要敘述李遇秋的生平簡(jiǎn)歷及其創(chuàng)作生涯。其中,他的創(chuàng)作生涯分為兩個(gè)階段,即前期創(chuàng)作的藝術(shù)積累(五十年代末至七十年代末)和后期創(chuàng)作方向的轉(zhuǎn)變(八十年代初至今)。主要論及各創(chuàng)作階段所取得的優(yōu)秀成果以及前后創(chuàng)作思路轉(zhuǎn)變后給中國(guó)手風(fēng)琴界帶來的重大影響。第三部分,李遇秋奏鳴曲的多元探討。這是本文的主旨所在。首先從三首奏鳴曲的本體研究入手,解析作品的旋律語言、曲式結(jié)構(gòu)、調(diào)式調(diào)性等方面內(nèi)容。通過這些現(xiàn)象綜合歸納三首作品音樂表現(xiàn)的共性標(biāo)志:標(biāo)題性、民族性音樂語言、曲式結(jié)構(gòu)的多重化、復(fù)調(diào)技術(shù)的兼容化和手風(fēng)琴特殊技巧的運(yùn)用。最后,在此基礎(chǔ)上進(jìn)一步展開對(duì)李遇秋創(chuàng)作思維及個(gè)性特點(diǎn)的思考。在
[Abstract]:In the western musical instruments introduced into China, accordion, with its beautiful timbre, broad sound quality and rich expressive power, occupies a very important position on the Chinese musical instrument stage. After nearly half a century of rapid development. It has become one of the most popular musical instruments in China, and has made remarkable achievements in playing, teaching and combining with national music culture. China's accordion industry is in a period of vigorous development. Li Yuqiu is the most powerful professional composer for the development of Chinese accordion art. Since 80s, he has restarted his accordion music writing career. Li Yuqiu's accordion creation is extensive in content, style is not fixed. In many excellent works, the three sonatas written at the end of the century are his sickening works in the ancient and rare years. This article takes Li Yuqiu's three sonatas as the breakthrough point, from the background, the form, the mode tonality. Rhythm, rhythm and humanistic interpretation are analyzed in detail, and the true meaning of the works is excavated. Try to explore the special musician in the end of 20th century in the special historical stage of music creation thinking and achievements, summed up the style and personality of his works. Thus, its role in the development of Chinese accordion music to give an objective historical positioning. The main body of the thesis is divided into three parts: the first part, the creation process of Chinese accordion music. Referring to the development process of modern society, Chinese accordion music creation has experienced the period of introduction and enlightenment. This is the review of accordion music and the blending process of our native culture and the development of the current situation. The second part. Li Yuqiu-the banner of accordion art nationalization. Mainly narrates Li Yuqiu's life history and his creative career. Among them, his creative career is divided into two stages. That is, the artistic accumulation in the early period (from the end of 50s to the end of 70s) and the change of the direction of creation in the later period (from 80s to the present). It mainly deals with the outstanding achievements in each stage of creation and the great influence on the Chinese accordion circle after the change of creative thinking before and after. The third part. This is the main purpose of this paper. First of all, from the three sonata Noumenon study, analysis of the melodic language of the works, the structure of the form. Through these phenomena, the common signs of music performance of three works are summed up: title, national musical language, multiple musical structure. The compatibility of polyphonic techniques and the application of special accordion techniques. Finally, on the basis of this, further thinking about Li Yuqiu's creative thinking and personality characteristics is carried out.
【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】：2005
【分類號(hào)】：J605

【引證文獻(xiàn)】

相關(guān)期刊論文 前1條

1 朱文琪;;解析李遇秋手風(fēng)琴奏鳴曲《長(zhǎng)征》的創(chuàng)作特征[J];德州學(xué)院學(xué)報(bào);2012年01期

相關(guān)博士學(xué)位論文 前1條

1 單建鑫;中俄手風(fēng)琴文化比較研究[D];中國(guó)藝術(shù)研究院;2012年

相關(guān)碩士學(xué)位論文 前1條

1 李明華;李遇秋手風(fēng)琴作品中的京劇因素解析[D];河北師范大學(xué);2010年

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本文編號(hào)：1434794