本文選題：五度關(guān)系 + 中國風(fēng)格特色　； 參考：《中國藝術(shù)研究院》2005年博士論文

【摘要】：中國風(fēng)格鋼琴曲是在學(xué)習(xí)西方傳統(tǒng)技法的基礎(chǔ)上發(fā)展起來的,從創(chuàng)作到演奏都離不開西方的影響,本文通過《小河淌水》不同版本以及具有代表性的中國鋼琴作品的分析比較,發(fā)現(xiàn)五度關(guān)系及其延伸的五聲性特點(diǎn)、同宮系統(tǒng)以及中國傳統(tǒng)音樂中的調(diào)式音階理論是中國風(fēng)格鋼琴作品的代表特征。在結(jié)合一些西方近現(xiàn)代作曲技法的鋼琴作品中,五度關(guān)系特征依然具有顯著的外部特征和地位,它是區(qū)別于西方傳統(tǒng)大小調(diào)體系的主要特征,為中國風(fēng)格鋼琴作品自身特色的形成奠定了基礎(chǔ)。從五度相生律角度解釋五度關(guān)系特征的形成,為音響的實(shí)際處理和音程的功能傾向性提供了理論上的參考依據(jù),但實(shí)踐檢驗(yàn)的道路還很漫長。演奏的實(shí)踐正是利用平均律對(duì)自然律的替代作用,通過演奏技術(shù)的靈活運(yùn)用為聽覺的轉(zhuǎn)化起到指引作用。觸鍵的力與距離的關(guān)系構(gòu)成了演奏技術(shù)理論的基礎(chǔ),它們的相互轉(zhuǎn)化為演奏的二度創(chuàng)作開辟了更廣闊的音響空間,中國風(fēng)格鋼琴作品的演奏特色就是在這一空間下與創(chuàng)作中的五度關(guān)系特征結(jié)合的產(chǎn)物,它最主要的表現(xiàn)還是與大小調(diào)體系對(duì)比下的對(duì)五度關(guān)系的強(qiáng)調(diào)和對(duì)三度關(guān)系的弱化。
[Abstract]:Chinese piano music is developed on the basis of studying western traditional techniques. From creation to performance, it can not be separated from the influence of the West. Through the analysis and comparison of different versions of "River dripping" and representative Chinese piano works, It is found that the pentatonic relationship and its extended pentatonic characteristics, Tonggong system and the theory of modulation scale in Chinese traditional music are the representative characteristics of Chinese piano works. In the piano works that combine some modern western composing techniques, the five-degree relationship still has remarkable external characteristics and status, which is the main characteristic that distinguishes it from the western traditional big minor system. It lays a foundation for the formation of Chinese piano works. The formation of the characteristic of the five-degree relation is explained from the angle of the five-degree law, which provides a theoretical reference for the practical processing of sound and the functional orientation of the interval, but the road of practical verification is still very long. The practice of playing is to use the law of average as a substitute for the law of nature and play a guiding role in the transformation of hearing through the flexible application of playing techniques. The relationship between contact force and distance forms the basis of the theory of playing technology, and their mutual transformation opens up a wider sound space for the second creation of playing. The performance characteristic of Chinese piano works is the product of combining with the five-degree relationship characteristic in creation in this space. Its main performance is the emphasis on the five-degree relationship and the weakening of the three-degree relationship compared with the big minor system.
【學(xué)位授予單位】：中國藝術(shù)研究院
【學(xué)位級(jí)別】：博士
【學(xué)位授予年份】：2005
【分類號(hào)】：J624.1

【引證文獻(xiàn)】

相關(guān)期刊論文 前2條

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相關(guān)博士學(xué)位論文 前1條

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相關(guān)碩士學(xué)位論文 前3條

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2 郭峗;根據(jù)古曲改編的中國鋼琴曲研究[D];青島大學(xué);2008年

3 馬曉霜;論王建中鋼琴音樂創(chuàng)作手法及演奏技巧[D];西安音樂學(xué)院;2012年

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本文編號(hào)：1901557