本文關(guān)鍵詞：論二十世紀(jì)揚琴音樂的分期　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： 20世紀(jì) 揚琴 分期 研究

【摘要】：本文論述中國揚琴音樂在20世紀(jì)發(fā)展的歷史分期及其各個階段的主要特征。全文由“前言”、“一、轉(zhuǎn)型期”、“二、發(fā)展期”、“三、成熟期”和“結(jié)語”五個部分組成,著重對中國揚琴音樂在20世紀(jì)的迅速崛起側(cè)重于從各個不同時期的社會背景、樂器改革、樂曲創(chuàng)作和演奏技法的發(fā)展演變進行歷史梳理,探討其規(guī)律性的成因。 前言主要介紹揚琴在明清時期由波斯阿拉伯一帶傳入我國后逐漸成為中國民族樂器的一員并主要在民間說唱和戲曲音樂中處于伴奏地位的狀況,進入20世紀(jì)后,開始由傳統(tǒng)揚琴向近代專業(yè)揚琴轉(zhuǎn)型。 第一部分主要論述20世紀(jì)上半葉中國揚琴音樂的發(fā)展處于“轉(zhuǎn)型期”初期的特征,在保持傳統(tǒng)揚琴基本形制的基礎(chǔ)上,開始在“江南絲竹”、“廣東音樂”和“四川揚琴”等民間器樂、說唱樂種中成為主奏樂器,并逐漸形成具有各個地區(qū)特色的演奏流派以及獨奏曲目。 第二部分以“發(fā)展期”概括自中華人民共和國成立至“文化大革命”期間揚琴音樂的迅速演變與發(fā)展,無論在揚琴形制的改革、音樂的創(chuàng)作和技法的創(chuàng)新方面都有突飛猛進的變化,尤其的揚琴音樂的專業(yè)化(高度院校的專業(yè)設(shè)置和專業(yè)音樂創(chuàng)作與演奏)使得揚琴在民族器樂領(lǐng)域和二胡、琵琶等樂器具有同等重要的地位和影響。 第三部分主要對我國八、九十年代揚琴音樂發(fā)展趨向的特點進行了論述與歸納,這一階段是20世紀(jì)以來我國揚琴音樂的發(fā)展最為繁榮和最具活力的時期,各個具有地區(qū)特色的揚琴流派在交流中融合,形成專業(yè)揚琴教學(xué)的新格局,演奏技法更加多樣化和規(guī)范化,揚琴改革的深化使得樂器的表現(xiàn)性能更為出色,揚琴大型樂曲和“新潮音樂”作品的面世將中國揚琴推向了和歐洲揚琴、西亞——南亞揚琴具有同樣重要地位的世界三大揚琴體系之一。我國揚琴在一個世紀(jì)的時間內(nèi)其發(fā)展軌跡所反映的成就已經(jīng)引起世人矚目。 “結(jié)語”部分則從揚琴的樂器改革、技巧創(chuàng)新、樂曲創(chuàng)作和不同歷史時期人
[Abstract]:This paper discusses the historical stages of the development of Chinese yangqin music in 20th century and the main characteristics of each stage. The full text is composed of "preface", "first, transition period", "second, development period", "three". "mature period" and "conclusion" composed of five parts, focusing on the rapid rise of Chinese yangqin music in 20th century, focusing on the social background of different periods, musical instrument reform. The development and evolution of musical composition and performance techniques are combed in history, and the causes of its regularity are discussed. The preface mainly introduces that the yangqin was introduced into China from Persian Arab area in the Ming and Qing dynasties and gradually became a member of Chinese national musical instruments and was mainly in the status of accompaniment in folk rap and opera music. In 20th century, it began to transform from traditional yangqin to modern professional yangqin. The first part mainly discusses the development of Chinese yangqin music in the first half of 20th century in the "transition period" in the early features, in the maintenance of the traditional yangqin basic shape on the basis of the beginning of "Jiangnan silk bamboo". "Guangdong Music" and "Sichuan Yangqin" and other folk instrumental music, rap music become the main instrument, and gradually formed with regional characteristics of playing schools and solo repertoire. The second part generalizes the rapid evolution and development of the yangqin music from the founding of the people's Republic of China to the "Cultural Revolution" in the "development period", regardless of the reform of the yangqin system. The creation of music and the innovation of techniques have made great changes, especially the specialization of yangqin music (the professional setting of high school and the creation and performance of professional music) make the yangqin in the field of national instrumental music and erhu. Pipa and other musical instruments have the same important status and influence. The third part mainly discusses and summarizes the characteristics of the development trend of Chinese yangqin music in 90s. This stage is the most prosperous and dynamic period of the development of Chinese yangqin music since 20th century. Various regional characteristics of the Yangqin schools in the exchange, forming a new pattern of professional dulcimer teaching, playing techniques more diversified and standardized, the deepening of dulcimer reform makes the performance of musical instruments more outstanding. The appearance of the large-scale music of the yangqin and the works of "Modern Music" have pushed the Chinese yangqin to the European yangqin. West Asia-South Asia dulcimer is one of the three major yangqin systems in the world. The achievements reflected by the development of the Chinese yangqin in a century have attracted the attention of the world. The conclusion is based on the reform of the instrument of dulcimer, the innovation of technique, the creation of music and the people of different historical periods.
【學(xué)位授予單位】：山東師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2005
【分類號】：J632.51

【引證文獻】

相關(guān)博士學(xué)位論文 前1條

1 張曉娟;中國弦樂史研究六十年（1949-2009）[D];福建師范大學(xué);2010年

相關(guān)碩士學(xué)位論文 前2條

1 胡胤哲;淺析鄭寶恒對揚琴形制與技法的改進與創(chuàng)新[D];南京藝術(shù)學(xué)院;2011年

2 黃s，

本文編號：1439093