本文選題：民間鑼鼓節(jié)奏 + 中國(guó)鋼琴音樂(lè)��； 參考：《江西師范大學(xué)》2013年碩士論文

【摘要】：中國(guó)作曲家著力于創(chuàng)作具有民族特色的聲韻、氣韻和裝飾色彩的語(yǔ)言旋律，吸收、模仿中國(guó)民族樂(lè)器音色特點(diǎn)及音響效果，設(shè)計(jì)鮮明的民族律動(dòng)性的節(jié)奏和民族化的調(diào)式、和聲織體，使中國(guó)鋼琴作品彰顯了鮮明的中華民族個(gè)性、抒發(fā)民族情感、展現(xiàn)民族精神。筆者試從具有典型鑼鼓節(jié)奏的中國(guó)鋼琴曲中分析和總結(jié)，，探討我國(guó)作曲家如何在鋼琴這一西洋樂(lè)器中摸索東方民族色彩感，民間鑼鼓節(jié)奏元素運(yùn)用的技法分析，以及對(duì)作品中“仿聲”的和聲創(chuàng)作手法等。 第一章，根據(jù)對(duì)漢族的各種鑼鼓節(jié)奏的梳理和歸納，分析漢族民間戲曲鑼鼓節(jié)奏和漢族民間歌舞鑼鼓節(jié)奏的如何模仿運(yùn)用在不同風(fēng)格的中國(guó)鋼琴作品中，表現(xiàn)我國(guó)漢族的民間鑼鼓節(jié)奏的風(fēng)格特色。 第二章，根據(jù)對(duì)少數(shù)民族的各種鑼鼓節(jié)奏的梳理和歸納，主要以西北地區(qū)、西南地區(qū)、中南以及東北地區(qū)的少數(shù)民族為主線，分析各少數(shù)民族的特色鑼鼓節(jié)奏和獨(dú)特的民間歌舞鼓類節(jié)奏是如何模仿運(yùn)用在表現(xiàn)民族內(nèi)涵的中國(guó)鋼琴作品中，如何體現(xiàn)各民族音樂(lè)的風(fēng)格特征。 第三章，以特色民間鑼鼓節(jié)奏的運(yùn)用為主線，闡述“遞增”、“遞減”的節(jié)奏模式和“1-4-7”節(jié)奏模式的意義，及如何在中國(guó)鋼琴作品中體現(xiàn)中國(guó)傳統(tǒng)音樂(lè)中節(jié)奏語(yǔ)言的民族特色和民族韻味。 第四章，本章以和聲上的仿聲創(chuàng)作手法及合理安排鋼琴的音色、音區(qū)、力度表現(xiàn)民間鑼鼓節(jié)奏形態(tài)和各種民間鑼鼓的敲擊音色。 第五章，本章闡述民間鑼鼓節(jié)奏的運(yùn)用對(duì)中國(guó)鋼琴音樂(lè)作品的影響，所具有的現(xiàn)實(shí)意義。 本文通過(guò)對(duì)民間鑼鼓節(jié)奏在中國(guó)鋼琴作品運(yùn)用的梳理和歸納，旨在希望能夠促使更多作曲家和院校學(xué)生的鋼琴作品創(chuàng)作目光集中在我國(guó)的豐富多彩的鑼鼓節(jié)奏形態(tài)上，也為筆者日后的學(xué)習(xí)和創(chuàng)作提供多些啟示和借鑒。
[Abstract]:Chinese composers devote themselves to the creation of language melodies with national characteristics, charm and decorative colors, absorb and imitate the timbre characteristics and sound effects of Chinese national musical instruments, and design distinct national rhythms and nationalized modes. Harmony weaving makes the Chinese piano works show the distinct Chinese character, express the national emotion and show the national spirit. The author tries to analyze and summarize the Chinese piano music with typical rhythm of gongs and drums, and discusses how Chinese composers try to find out the oriental national color in the western instrument of piano, and the techniques used by folk gongs and drums in rhythmic elements. And the works of "imitation of sound" in the creation of harmony, and so on. In the first chapter, according to the combing and induction of the various gongs and drums of the Han nationality, the author analyzes how the rhythm of the Han folk opera gongs and drums and the Han folk song and dance gongs and drums are imitated and used in different styles of Chinese piano works. Performance of the Chinese Han folk gongs and drums rhythm style characteristics. In the second chapter, according to the rhythm of the various gongs and drums of the ethnic minorities, the main thread is the ethnic minorities in the Northwest, Southwest, Central and Northeast regions. This paper analyzes how the characteristic rhythm of gongs and drums and the unique rhythms of folk songs and dances are imitated and used in the Chinese piano works which express the national connotation, and how to embody the style characteristics of each nationality's music. The third chapter, taking the characteristic folk gongs and drums rhythm as the main line, expounds the meaning of the rhythm mode of "increasing progressively", "decreasing" and "1-4-7" rhythm pattern. And how to embody the national characteristics and national flavor of rhythmic language in Chinese traditional music in Chinese piano works. In the fourth chapter, this chapter presents the rhythmic form of folk gongs and drums and the percussion tone of various folk gongs and drums with harmony creation techniques and reasonable arrangement of piano timbre and timbre area. The fifth chapter, this chapter elaborates the folk gongs and drums rhythm to the Chinese piano music work influence, has the realistic significance. By combing and summing up the use of folk gongs and drums in Chinese piano works, this paper hopes to promote more composers and college students to focus on the rich and colorful rhythm of gongs and drums in our country. Also for the author in the future to learn and create to provide more inspiration and reference.
【學(xué)位授予單位】：江西師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類號(hào)】：J632.52;J624.1

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