本文關(guān)鍵詞： 打擊樂(lè) 意識(shí) 心理　出處：《中央音樂(lè)學(xué)院》2014年碩士論文　論文類(lèi)型：學(xué)位論文

【摘要】：在音樂(lè)演奏藝術(shù)中,演奏者無(wú)論是在平日的練習(xí)中亦或在舞臺(tái)上,大多數(shù)時(shí)間中是需要獨(dú)自的面對(duì)演奏的。無(wú)論是在練習(xí)中攻克難點(diǎn),還是在演奏中處理各種突發(fā)狀況,無(wú)不需要演奏者透過(guò)對(duì)自己意識(shí)與心理的有效調(diào)控來(lái)實(shí)現(xiàn)。有時(shí)演奏者充當(dāng)自己的練習(xí)指導(dǎo),有時(shí)又要成為自己情感的“分析者”,在舞臺(tái)上更是自己唯一的“戰(zhàn)友”。然而,在音樂(lè)演奏領(lǐng)域中,對(duì)演奏者自身意識(shí)和心理的關(guān)注卻并不多。對(duì)意識(shí)與心理這二個(gè)因素,能夠?yàn)橐魳?lè)演奏帶來(lái)的影響與作用,更是探究的少之又少。 本文從筆者多年打擊樂(lè)演奏的體會(huì)出發(fā),運(yùn)用心理學(xué)中關(guān)于意識(shí)與心理調(diào)控的知識(shí),透過(guò)對(duì)常見(jiàn)打擊樂(lè)曲中片段的解析,將意識(shí)與心理二因素與打擊樂(lè)演奏結(jié)合在一起。透過(guò)對(duì)實(shí)例的分析,呈現(xiàn)出意識(shí)與心理相關(guān)知識(shí)在打擊樂(lè)演奏實(shí)踐中運(yùn)用的方式方法。 本文分別從打擊樂(lè)練習(xí)過(guò)程和舞臺(tái)演奏兩方面來(lái)闡釋打擊樂(lè)演奏藝術(shù)中的意識(shí)與心理調(diào)控。力圖透過(guò)從意識(shí)與心理層面對(duì)打擊樂(lè)演奏的探究,找尋到練習(xí)中問(wèn)題解決的新思路、新方法；舞臺(tái)演奏中心理、狀態(tài)調(diào)整的新途徑。幫助演奏者,在練習(xí)中找準(zhǔn)方法、提高效率,體會(huì)快樂(lè),更新對(duì)“練習(xí)”枯燥、無(wú)趣的認(rèn)知和感受；在舞臺(tái)演奏中調(diào)整心態(tài)和狀態(tài),更自信、從容、輕松的面對(duì)演奏。啟發(fā)打擊樂(lè)演奏者以全新的視角審視打擊樂(lè)演奏藝術(shù),引起演奏者對(duì)打擊樂(lè)演奏的全新思考,幫助打擊樂(lè)演奏者發(fā)掘出打擊樂(lè)演奏藝術(shù)更深厚的魅力,營(yíng)造打擊樂(lè)演奏者在演奏中的快樂(lè)體驗(yàn),激發(fā)打擊樂(lè)演奏者對(duì)打擊樂(lè)演奏藝術(shù)探索的渴望和興趣,促進(jìn)打擊樂(lè)藝術(shù)蓬勃的向前發(fā)展。
[Abstract]:In the art of musical performance, the performer, whether in the usual practice or on the stage, has to face the performance alone most of the time. Whether in practice to overcome difficulties or to deal with all kinds of unexpected situations in the performance, There is no need for the performer to realize it through effective regulation of his own consciousness and psychology. Sometimes the performer acts as his own exercise guide, sometimes he becomes an "analyst" of his own emotions, and on stage he is his only "comrade in arms." In the field of music playing, there is not much attention to the player's own consciousness and psychology. Based on the author's experience in percussion performance for many years, this paper applies the knowledge of consciousness and psychological regulation in psychology to analyze the fragments of common percussion music. This paper combines two factors of consciousness and psychology with percussion performance. Through the analysis of examples, it presents the ways and methods of consciousness and psychology related knowledge in percussion performance practice. This paper explains the consciousness and psychological regulation in percussion performance from the aspects of percussion practice process and stage playing, and tries to explore the percussion performance from the aspect of consciousness and psychology. Find new ideas, new methods for solving problems in practice, new ways for psychology and state adjustment in stage playing. Help players find the right methods in practice, improve efficiency, experience happiness, and renew the boredom of "practice". Dull cognition and feeling; adjust the state of mind and state in stage playing; be more confident, relaxed and relaxed in the face of performance. Inspire percussion players to look at percussion art from a new perspective, To arouse the players' new thinking on percussion, to help percussion players to discover the deeper charm of percussion performance, and to create a happy experience for percussion players. To stimulate percussion players' desire and interest in percussion art exploration and promote the vigorous development of percussion art.
【學(xué)位授予單位】：中央音樂(lè)學(xué)院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類(lèi)號(hào)】：J625

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相關(guān)期刊論文 前1條

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本文編號(hào)：1528265