本文選題：丁善德　切入點：晚期鋼琴作品　出處：《江西師范大學》2005年碩士論文　論文類型：學位論文

【摘要】：丁善德,20世紀中國樂壇最具代表性和影響力的第二代作曲家、鋼琴家、教育家、理論家及活動家之一。他對中國近現(xiàn)代音樂的形式發(fā)展和內容深化都起到了積極的推動作用。眾所周知,丁善德先生是一位從演奏型轉向音樂創(chuàng)作型的作曲家,在近半個世紀的創(chuàng)作生涯中,先生涉獵到了多種音樂體裁,但先生更偏愛鋼琴音樂作品。在他有編號的36部音樂作品中,鋼琴音樂,從1945年寫的《春之旅組曲》(op.1)到1992年寫的《中國民歌鋼琴三曲》(op.36),就占了18部。在鋼琴音樂創(chuàng)作中,他即注重西方的作曲理論,又吸收了中國的民族音樂因素,創(chuàng)作出了不少杰出的鋼琴音樂作品,大大豐富了中國鋼琴音樂文獻。并且對其他的作曲家也產生了積極的影響。如羅忠昒、陳銘志等一批作曲家就吸取了其創(chuàng)作精華。雖然,國內音樂學界對丁善德的音樂創(chuàng)作予以了高度的重視,以鋼琴作品為例。在研究過程中,人們對其四、五十年代的鋼琴音樂作品研究的較為細致。然而對丁先生創(chuàng)作后期(即八十年代后)的鋼琴音樂研究的不夠明確。從1983年到1992年這段時間屬于丁老先生的創(chuàng)作晚期,在作品中運用了泛調性和自由十二音技法。但是研究中對其晚期作品只是泛泛而談,尚未從作品的藝術價值和美學價值的角度對丁善德后期的鋼琴音樂作品予以全面考察,因而本人認為有必要進一步深入探討丁善德晚期鋼琴音樂的創(chuàng)作手法及對中國近現(xiàn)代鋼琴音樂的影響。 鑒于以上情況,筆者在導師的建議下將丁善德的鋼琴音樂創(chuàng)作作為論文的研究課題,站在前人研究的基礎上,筆者遂將研究重點放在丁善德晚期鋼琴音樂作品上,就其發(fā)展脈絡、創(chuàng)作手法、音樂風格及對中國鋼琴音樂的發(fā)展所產生的深遠影響——加以闡述
[Abstract]:Ding Shande, the most representative and influential second generation composer, pianist and educator of Chinese music in the 20th century, One of the theorists and activists. He has played a positive role in the development and deepening of the form and content of modern Chinese music. As we all know, Mr. Ding Shande is a composer who has changed from playing to creating music. In his nearly half century of writing, he has dabbled in a variety of musical genres, but he prefers piano music. Of his 36 numbered pieces, piano music. From 1945 to 1992, he wrote "Chinese Folk Song Piano three songs" and "Chinese Folk Song Piano three", which accounted for 18. In piano music creation, he not only paid attention to western composing theory, but also absorbed Chinese folk music factors. He has created many outstanding piano music works, greatly enriched the Chinese piano music literature, and has also had a positive impact on other composers. For example, a group of composers such as Luo Zhonghui and Chen Mingzhi have absorbed the essence of their works. Although, The domestic music circles have attached great importance to Ding Shande's music creation, taking piano works as an example. In the course of the research, people pay more attention to Ding Shande's music creation. The study of piano music works in 50s was more detailed. However, the research on piano music in the later stage of Mr. Ding's creation (that is, after 50s) was not clear enough. From 1983 to 1992, this period belonged to the late period of Mr. Ding's creation. The pan-tonality and free 12 tone techniques have been used in the works. However, the late works of Ding Shande have not been comprehensively investigated from the angle of artistic value and aesthetic value of his works. Therefore, I think it is necessary to further explore the creative techniques of Ding Shande's late piano music and its influence on modern Chinese piano music. In view of the above situation, the author made Ding Shande's piano music creation as the research subject of the thesis under the advice of his tutor. On the basis of the previous studies, the author then focused on Ding Shande's late piano music works. This paper expounds the development of piano music in China, including its development context, creative techniques, musical style and its far-reaching influence on the development of Chinese piano music.
【學位授予單位】：江西師范大學
【學位級別】：碩士
【學位授予年份】：2005
【分類號】：J624.1

【引證文獻】

相關碩士學位論文 前1條

1 鄭遠;二十世紀下半葉中國鋼琴音樂創(chuàng)作初探[D];福建師范大學;2006年

，

本文編號：1623526