本文選題：進行曲 + 改編曲�。� 參考：《河北師范大學(xué)》2014年碩士論文

【摘要】：改編曲，由古至今不勝枚舉，巴赫、貝多芬、莫扎特、維瓦爾第等人都曾熱衷于改編自己或他人的作品，鋼琴大王李斯特更是一位卓越的改編大家。十八到十九世紀(jì)為了順應(yīng)澎湃的音樂潮流，社會上涌現(xiàn)了大量的普及性的改編曲，這種現(xiàn)象一直延續(xù)至二十世紀(jì)。本文所研究的這首改編曲是由前蘇聯(lián)作曲家普羅科菲耶夫根據(jù)自己的作品改編而成。二十世紀(jì)初，普羅科菲耶夫旅美期間，創(chuàng)作歌劇了《三桔之愛》，，至1919年完成管弦樂總譜。自面世起這部管弦樂引起了強烈反響，聽眾們紛紛贊賞不絕，其中最受歡迎的就是《進行曲》。之后，普羅科菲耶夫又將其改編為鋼琴版、著名小提琴演奏家海菲茨改編為小提琴版，流傳至今，這部風(fēng)格鮮明的作品成為諸多演奏家音樂會的首選曲目之一。 本人在研究如何演奏《進行曲》這一作品的過程中發(fā)現(xiàn)，對于作品音樂結(jié)構(gòu)的把握是演奏的關(guān)鍵，應(yīng)放在重要的位置，只有經(jīng)過深入的結(jié)構(gòu)分析，才能最終了解這部作品想要“告訴”我們什么、傳達給我們什么樣的表情信息、具有怎樣的性格特征、描述了何種場景或者意境，才有可能將這些信息準(zhǔn)確的、真實的用聲音詮釋給聽眾，這是我們鋼琴演奏者的職責(zé)所在。 本文以鋼琴改編曲《進行曲》為研究對象，從以下幾方面進行研究：普羅科菲耶夫的藝術(shù)生涯及改編曲背景，改編曲《進行曲》的結(jié)構(gòu)特征對演奏實踐的影響。在作品結(jié)構(gòu)特征對演奏實踐的影響這一部分中詳細闡述了作品曲式結(jié)構(gòu)、和聲與織體、速度與節(jié)奏以及踏板對演奏的影響。希望通過本文的論述能增加我們對這部作品的全面理解，能準(zhǔn)確地把握其中的演奏技巧，能夠更加準(zhǔn)確細致地表達出作品的思想內(nèi)容。
[Abstract]:Since ancient times, the adaptation of music, Bach, Beethoven, Mozart, Vivaldi and other people have been keen to adapt their own or others' works, the piano King Liszt is a remarkable adaptation of everyone.In the eighteenth and nineteenth centuries, in order to conform to the surging music trend, a large number of popular adaptation emerged, and this phenomenon continued into the twentieth century.The adaptation is based on the former Soviet composer Prokofyev.At the beginning of the twentieth century, Prokofyev wrote the opera Love of the Citrus during his trip to the United States, and by 1919 he had completed the orchestral composition.Since its launch, the orchestra has received a lot of applause from the audience, the most popular of which is March.Later, Prokofyev adapted it to the piano version and the famous violinist Hefitz to the violin version. This distinctive style of work has become one of the preferred repertoire for many musicians.In the course of studying how to play "March", I found that the grasp of music structure is the key to performance, should be placed in an important position, only through in-depth structural analysis,In order to finally understand what this work wants to "tell" us, what kind of facial expression information it conveys to us, what personality characteristics it has, what kind of scene or artistic conception it describes, so that it can be accurate.It is the duty of our piano players to interpret the truth to the audience with sound.In this paper, the piano adaptation "March" as the research object, from the following aspects: Prokofyev's artistic career and the background of the adaptation, the structural characteristics of the adaptation of "March" on the performance of practice.In this part, the influence of musical structure, harmony and texture, speed and rhythm, and pedal on performance is discussed in detail.It is hoped that the discussion in this paper can increase our overall understanding of the work, grasp the playing skills accurately, and express the ideological content of the work more accurately and meticulously.
【學(xué)位授予單位】：河北師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2014
【分類號】：J605

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相關(guān)期刊論文 前2條

1 孟幻 ,孟丹;“敲擊風(fēng)格”與“黑色幽默”——紀(jì)念普羅科菲耶夫逝世50周年[J];鋼琴藝術(shù);2003年12期

2 魏廷格;論王建中的鋼琴改編曲[J];中國音樂學(xué);1999年02期

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