本文選題：歌唱性 + 嗩吶音樂演奏特點　； 參考：《山西大學》2013年碩士論文

【摘要】：嗩吶在我國有著悠久的歷史,它不僅具有突出的音色,而且能表達豐富的感情,在農村常用于婚喪嫁娶,經(jīng)常為戲曲伴奏,是器樂排練中不可缺少的樂器。本文從幾個方面來說明“歌唱性”在嗩吶演奏中的重要作用,將嗩吶演奏中的歌唱性感受上升到理論高度予以詮釋。要想提高演奏者的演奏水平,不僅要熟練各種演奏技巧,還應該提升自身的音樂修養(yǎng)和人文素養(yǎng),多加學習中國的傳統(tǒng)音樂文化,例如：民歌、戲曲等,多唱多聽,我們要經(jīng)過長時間的學習積累,把嗩吶演奏實現(xiàn)從“唱”到“吹”,再到“唱”,使演奏者在演奏前做到心中有數(shù),對嗩吶演奏進行理論上的分析,將自己多年的學習體會結合起來,綜合各地方的演奏特點,吸收新的演奏技巧,使其更好的表達情感,有這些做鋪墊,我們才能對演奏樂曲有一定的把握。通過對歌唱性的本質含義,演奏時需要運用的嗩吶技巧,以及對作品表現(xiàn)的影響進行簡要的論述,使我們了解嗩吶演奏中的歌唱性,能夠很好的吹奏嗩吶。
[Abstract]:Suona has a long history in our country, it not only has outstanding timbre, but also can express rich feelings. It is often used in marriage and funeral in rural areas, often accompanied by opera, and is an indispensable musical instrument in instrumental rehearsals. This paper explains the important role of "singing sex" in suona playing from several aspects, and interprets the singing feeling in suona playing to a theoretical level. In order to improve the performance level of the performers, they should not only be proficient in all kinds of playing skills, but also improve their own music cultivation and cultural literacy, learn more about Chinese traditional music culture, such as folk songs, operas, etc., and sing and listen more. After a long period of study and accumulation, we should realize the suona performance from "singing" to "blowing" and then to "singing", so that the players can have a clear idea of the suona performance before playing, and make theoretical analysis of the suona performance. With the combination of many years of study and experience, we can integrate the characteristics of various places, absorb new playing skills, and make them express their emotions better. Only with these can we have a certain grasp of the playing music. In this paper, the essential meaning of singing, the suona technique needed to be used when playing, and the influence on the performance of the works are briefly discussed, so that we can understand the singing nature of suona playing and can play suona very well.
【學位授予單位】：山西大學
【學位級別】：碩士
【學位授予年份】：2013
【分類號】：J632.14

【參考文獻】

相關期刊論文 前10條

1 張志可;論內心聽覺的培養(yǎng)與嗩吶演奏[J];貴州大學學報(藝術版);2004年01期

2 吳玉輝;;嗩吶藝術的淵源及音樂社會學解析[J];貴州大學學報(藝術版);2007年01期

3 杜效鶴;;談嗩吶的自然顫音[J];黃河之聲;1995年03期

4 徐小明;半個世紀嗩吶音樂藝術的發(fā)展[J];人民音樂;2002年08期

5 劉柱喜;嗩吶吹奏中常遇的問題及解決方法[J];天津音樂學院學報;1999年03期

6 施詠;;中國音樂審美中的音色觀[J];銅陵學院學報;2007年05期

7 張志可;中國漢族嗩吶發(fā)展的區(qū)域性差異成因探析[J];星海音樂學院學報;2004年02期

8 張放,陳晶晶;嗩吶幾種技巧的傳統(tǒng)與現(xiàn)代演奏觀之比較(上)[J];樂器;2000年05期

9 張志可;由《百鳥朝鳳》看民間嗩吶曲的“即興”創(chuàng)作[J];樂府新聲(沈陽音樂學院學報);2002年03期

10 黃漢華;言之樂與無言之樂——聲樂與器樂之聯(lián)系與轉化的美學思考[J];中國音樂;2002年04期

，

本文編號：1813834