本文選題：小提琴藝術(shù) + 北京�。� 參考：《首都師范大學》2005年碩士論文

【摘要】：起源于歐洲的小提琴與鋼琴是世界音樂史上公認的最重要的兩種樂器。小提琴音色細仼、韻味獨特、富于歌唱性,享有“樂器皇后”之美稱。它的產(chǎn)生、發(fā)展與繁榮,經(jīng)歷了一個漫長的歷史過程。 17世紀末,小提琴由傳教士帶入中國清朝宮廷,早期的北京小提琴藝術(shù)活動主要局限在宮廷里和來北京的外國人當中。20世紀初,小提琴在北京還未普及,海外留學生的歸國和外籍音樂家的到來推動了小提琴藝術(shù)在北京的發(fā)展。留學法國的馬思聰是貢獻極大、影響至今的代表人物。建國初期,北京的小提琴表演、教育與音樂創(chuàng)作呈現(xiàn)出一派繁榮景象。然而自1958年起,政治活動逐漸增多。1964年,在毛主席對文藝界的兩個重要批示產(chǎn)生以后,左傾錯誤更加嚴重,隨之而來的“文化大革命”導致了正常的小提琴演奏、教學活動完全中斷,音樂藝術(shù)遭到了空前的破壞。“文革”結(jié)束、改革開放后,北京小提琴藝術(shù)重新獲得蓬勃發(fā)展,包括演奏家、作曲家和提琴制作家等在內(nèi)的一大批音樂家在國際大賽頻頻獲獎。以林耀基、王振山等為代表的北京小提琴家們不但學習和繼承了法比學派、俄羅斯學派先進的理念與技術(shù),而且還逐漸把它發(fā)展成為具有中國特色的小提琴理論和演奏藝術(shù)。事實證明,當代北京的小提琴教學水平、演奏藝術(shù)已步入國際水平的行列,中央音樂學院的小提琴專業(yè)音樂教育代表了北京乃至全國小提琴音樂教育的最高水平�？梢哉f,北京作為政治文化中心和小提琴在中國的發(fā)源地,它的小提琴發(fā)展史就是一部中國小提琴藝術(shù)史的縮影。 本文立足于北京,從教學、演奏、科研、創(chuàng)作及制作業(yè)等各個方面對北京小提琴藝術(shù)發(fā)展史的脈絡(luò)進行梳理,并以此為基礎(chǔ),嘗試分析與總結(jié)在國際大環(huán)境下的北京小提琴音樂的特征、優(yōu)勢及存在的問題,以期為北京乃至全國的小提琴藝術(shù)理論的發(fā)展和完善、音樂史學的豐富提供一些參考性的材料。
[Abstract]:The violin and piano originated in Europe are recognized as the two most important musical instruments in the history of music in the world. Violin tone fine, unique flavor, full of singing, enjoy the "queen of musical instruments" laudatory name. Its emergence, development and prosperity, experienced a long historical process. At the end of the 17th century, the violin was brought into the Qing court by missionaries. The early Beijing violin art activities were mainly confined to the palace and among the foreigners who came to Beijing at the beginning of the 20th century. The violin had not been popularized in Beijing. The return of overseas students and the arrival of foreign musicians have contributed to the development of violin art in Beijing. Ma Sicong, who studied in France, is a representative who has made great contributions and influenced so far. In the early days of the founding of the people's Republic of China, Beijing's violin performance, education and music creation took on a prosperous scene. Since 1958, however, political activity has increased. In 1964, after Chairman Mao's two important instructions to the literary and art world came into being, the left-leaning error became even more serious, and the "Cultural Revolution" that followed led to normal violin playing. The teaching activity was completely interrupted, the music art suffered unprecedented destruction. With the end of the Cultural Revolution and the reform and opening up, the violin art of Beijing has gained a vigorous development again. A large number of musicians, including performers, composers and violinists, have frequently won prizes in international competitions. The Beijing violinists, such as Lin Yao-ji and Wang Zhenshan, not only studied and inherited the advanced ideas and techniques of the Fabian School and the Russian School, but also gradually developed it into a violin theory and playing art with Chinese characteristics. Facts have proved that the violin teaching level and the performing art of contemporary Beijing have stepped into the international level, and the violin professional music education of the Central Conservatory of Music represents the highest level of violin music education in Beijing and even in the whole country. It can be said that Beijing, as the center of political culture and the birthplace of violin in China, its violin history is a microcosm of the history of Chinese violin art. Based on Beijing, this paper combs the history of Beijing violin art development from teaching, performance, scientific research, creation and production, and based on it, This paper attempts to analyze and summarize the characteristics, advantages and existing problems of violin music in Beijing under the international environment, in order to provide some reference materials for the development and perfection of violin art theory in Beijing and the whole country, and the enrichment of music history.
【學位授予單位】：首都師范大學
【學位級別】：碩士
【學位授予年份】：2005
【分類號】：J622.1

【引證文獻】

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1 王萱;;淺論小提琴演奏中音色的作用[J];神州民俗(學術(shù)版);2011年02期

2 王萱;;淺論小提琴演奏中音色的作用[J];中小企業(yè)管理與科技(上旬刊);2010年07期

相關(guān)博士學位論文 前1條

1 陳習;中國小提琴音樂創(chuàng)作史研究[D];福建師范大學;2011年

相關(guān)碩士學位論文 前1條

1 洪春奇;南京地區(qū)小提琴考級現(xiàn)狀調(diào)查[D];南京師范大學;2007年

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本文編號：1804490