本文選題：施光南 + 鋼琴伴奏　； 參考：《中國音樂學(xué)院》2013年碩士論文

【摘要】：施光南是新中國音樂殿堂杰出的作曲家。他創(chuàng)作了大量的民族聲樂作品，其中施光南編配的鋼琴伴奏在他的創(chuàng)作中具有較高的藝術(shù)水準(zhǔn)。作為藝術(shù)指導(dǎo)專業(yè)的學(xué)生對(duì)施光南鋼琴伴奏創(chuàng)作的研究是很有必要的，，提高自己分析并編配鋼琴伴奏的能力。他的鋼琴伴奏創(chuàng)作，把民族音樂的神韻化為自己的音樂創(chuàng)作語言，并結(jié)合西方創(chuàng)作技法，奠定了施光南獨(dú)具個(gè)性的音樂風(fēng)格。這不僅代表了新中國成立后鋼琴伴奏創(chuàng)作的較高水平，也為當(dāng)代鋼琴伴奏的創(chuàng)作提供了可以借鑒的范本。對(duì)施光南聲樂作品鋼琴伴奏的創(chuàng)作進(jìn)行研究是有必要的。 本文將分五個(gè)章節(jié)進(jìn)行論述 第一章：施光南的藝術(shù)人生以及藝術(shù)創(chuàng)作概述和審美特征 第二章：論述施光南鋼琴伴奏的民族性特征。包括民族化和聲、民族性調(diào)性曲式、民族性節(jié)奏型、民族樂器的模仿。 第三章：論述施光南聲樂作品鋼琴伴奏的創(chuàng)作特征。包括模仿西洋樂器音色、鋼琴伴奏織體、同一織體的不同形態(tài)、多連音的運(yùn)用、鋼琴伴奏中的意境、鋼琴伴奏中的調(diào)性轉(zhuǎn)換六方面。 第四章：施光南鋼琴伴奏的貢獻(xiàn)。 第五章：對(duì)施光南鋼琴伴奏的啟發(fā)與思考，以及本課題的研究意義。 本文選擇施光南聲樂作品鋼琴伴奏的創(chuàng)作特征作為研究對(duì)象，這是前人所沒有研究過的。本文運(yùn)用比較分析法，引用分析法，列舉分析法，從民族性特征、和聲、節(jié)奏、調(diào)性曲式以及鋼琴伴奏織體的寫作幾個(gè)方面分析了施光南聲樂作品鋼琴伴奏的創(chuàng)作特征，力求在民族聲樂鋼琴伴奏創(chuàng)作中進(jìn)行探究，提高藝術(shù)指導(dǎo)的分析作品及編配鋼琴伴奏的能力。
[Abstract]:Shi Guangnan is an outstanding composer in New China. He has created a large number of national vocal music works, among which Shi Guangnan's piano accompaniment has a high artistic level in his creation. It is necessary to study Shi Guangnan piano accompaniment creation by students majoring in art guidance. It is necessary to improve their ability to analyze and assign piano accompaniment. His piano accompaniment transformed the charm of folk music into his own musical creation language and combined with western creative techniques established Shi Guangnan's unique musical style. This not only represents the higher level of piano accompaniment creation after the founding of New China, but also provides a model for contemporary piano accompaniment creation. It is necessary to study the piano accompaniment of Shi Guangnan vocal works. This article will be divided into five chapters to discuss the first chapter: Shi Guangnan's artistic life and artistic creation and aesthetic characteristics of the second chapter: discusses the national characteristics of Shi Guangnan piano accompaniment. It includes nationalized harmony, national tonality, national rhythm, and imitation of national musical instruments. The third chapter discusses the creative characteristics of piano accompaniment in Shi Guangnan vocal works. Including imitation of western musical instrument timbre, piano accompaniment texture, different forms of the same texture, the use of multi-tone, piano accompaniment in the artistic conception, piano accompaniment in the tone conversion six aspects. Chapter four: the contribution of Shi Guangnan piano accompaniment. Chapter five: the inspiration and thinking of Shi Guangnan piano accompaniment, and the significance of this research. This paper chooses the characteristics of piano accompaniment in Shi Guangnan vocal works as the object of study, which has not been studied before. By means of comparative analysis, citation analysis and enumeration analysis, this paper analyzes the creative characteristics of piano accompaniment in Shi Guangnan vocal works from the aspects of national characteristics, harmony, rhythm, tonality and composition of piano accompaniment. To explore the piano accompaniment of national vocal music, to improve the analytical works of artistic guidance and the ability to arrange piano accompaniment.
【學(xué)位授予單位】：中國音樂學(xué)院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類號(hào)】：J624.1

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相關(guān)期刊論文 前3條

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本文編號(hào)：2116620