【摘要】：20世紀(jì)中葉以后，手風(fēng)琴面臨著從傳統(tǒng)手風(fēng)琴轉(zhuǎn)型到自由低音巴揚(yáng)的趨勢，一大批巴揚(yáng)音樂家開始涌現(xiàn)，并為手風(fēng)琴創(chuàng)作了更多更適合其特點(diǎn)的作品。作為手風(fēng)琴界的領(lǐng)軍，俄羅斯手風(fēng)琴迅速風(fēng)靡全世界。佐羅塔耶夫是俄羅斯著名的手風(fēng)琴音樂家，他擔(dān)當(dāng)了繼承人和開拓者的角色，創(chuàng)作了很多適應(yīng)時代發(fā)展作品，對手風(fēng)琴現(xiàn)代作品的開拓和創(chuàng)新有很大的意義，推動了手風(fēng)琴由俄羅斯的民族樂器向?qū)I(yè)化領(lǐng)域演變的進(jìn)程。 佐羅塔耶夫擔(dān)當(dāng)了繼承人和開拓者的角色，在他創(chuàng)作的手風(fēng)琴作品中，蘊(yùn)含著根植于西方古典主義的傳統(tǒng)作曲技法，還有在西方當(dāng)代音樂發(fā)展中萌生出來的新元素，具有很好的藝術(shù)研究價值。佐羅塔耶夫把巴揚(yáng)手風(fēng)琴作品的寫作上升到前所未有的高度，他通過他的作品提高了手風(fēng)琴在樂器家族中的地位。里程碑式地開拓和發(fā)展了手風(fēng)琴音樂，使其更富有表現(xiàn)力。他的創(chuàng)作風(fēng)格亦是多種多樣，比如室內(nèi)樂、協(xié)奏曲等，對他后來的手風(fēng)琴音樂的發(fā)展產(chǎn)生了深遠(yuǎn)的影響。在近現(xiàn)代手風(fēng)琴發(fā)展史上，佐羅塔耶夫是一位非常重要的人物。 他的作品在國際大賽和音樂會上深受演奏者的青睞，而且還有以他名字命名的手風(fēng)琴比賽。佐羅塔耶夫在短短十四年的創(chuàng)作生涯中，憑著卓越的音樂天賦和對手風(fēng)琴的熱愛譜寫了大量優(yōu)秀的手風(fēng)琴作品。他的作品不僅體裁廣泛、風(fēng)格各異，在創(chuàng)作手法上亦有獨(dú)到之處。在佐羅塔耶夫的作品中，不同體裁與風(fēng)格的作品都有標(biāo)志性的旋律代表著佐羅塔耶夫的創(chuàng)作。這種標(biāo)志性既是人們在聽覺上辨別佐羅塔耶夫作品的先端，也是作曲家獨(dú)特旋律創(chuàng)作手法的表現(xiàn)，更是佐羅塔耶夫作品風(fēng)格的展示。 《奏鳴曲2號》是佐羅塔耶夫的經(jīng)典作之一，在這首作品中佐羅塔耶夫保持了傳統(tǒng)的曲式結(jié)構(gòu)，，將很多現(xiàn)代創(chuàng)作技法融入作品中。在創(chuàng)作上與手風(fēng)琴的特點(diǎn)相結(jié)合并進(jìn)行大膽的創(chuàng)新，大大開發(fā)了手風(fēng)琴音樂的藝術(shù)表現(xiàn)力。筆者想通過對其的分析研究，挖掘出其更多的內(nèi)在價值，為佐羅塔耶夫作品的理解和演繹方面發(fā)掘一些線索。 基于以上情況，筆者在本文從音樂本體以及演奏技巧等方面對《奏鳴曲2號》進(jìn)行了大膽的嘗試性分析，從一個演奏者的角度詮釋對該部作品的認(rèn)識和理解出發(fā)，對音樂本體和演奏技巧等諸方面進(jìn)行了全面的、多層次的立體式分析。力圖通過對作品的全面分析，在演奏技巧和情感把握方面提出幾點(diǎn)個人的建議和演奏方法，同時,筆者通過對作品內(nèi)在價值的深入挖掘，增進(jìn)人們對這部音樂作品的理解和認(rèn)識,以己之綿薄之力為演奏者理解和把握該部作品提供參考。
[Abstract]:After the middle of the 20th century, the accordion was faced with the trend of transition from the traditional accordion to the free bass Bayan. A large number of Bayan musicians began to emerge, and created more and more works suitable for the accordion. As an accordion leader, the Russian accordion quickly swept the world. Zorotayev is a famous accordion musician in Russia. He acted as heir and pioneer and created a lot of development works adapted to the times, which is of great significance to the development and innovation of modern accordion works. Promoted the accordion from the Russian national musical instruments to the professional field of the evolution process. Zorotayev acted as heir and pioneer. His accordion works contained traditional composing techniques rooted in western classicism, as well as new elements arising from the development of contemporary western music. Has the very good artistic research value. Zorotayev raised the writing of Bayan's accordion to an unprecedented level, through which he raised the accordion's position in the musical family. Milestone development and development of accordion music, make it more expressive. His creative styles, such as chamber music and concerto, had a profound influence on the development of his accordion music. Zorotayev is a very important figure in the development of accordion in modern times. His works are popular with performers in international competitions and concerts, and also in accordion competitions named after him. Zorotayev has written a lot of excellent accordion works in his short 14 years of writing career, with outstanding musical talent and love of accordion. His works not only have a wide range of genres, different styles, but also have unique creative techniques. In Zorotayev's works, different genres and styles have iconic melodies to represent Zorotayev's creation. This signature is not only the hearing to distinguish the apex of Zorotaev's works, but also the composer's unique melody creation techniques. It is also a display of the style of Zorotayev's works. Sonata No. 2 is one of Zorotaev's classic works, in which Zorotaev maintains the traditional musical structure. Many modern creative techniques are incorporated into the works. Combining with the characteristics of accordion and innovating boldly, the artistic expression of accordion music is greatly developed. Through the analysis and research, the author tries to find out more intrinsic value of Zorotayev's works, and find some clues for the understanding and deduction of Zorotaev's works. Based on the above situation, the author makes a bold and tentative analysis of Sonata 2 from the aspects of musical Noumenon and performance skills, and interprets the understanding and understanding of the work from the perspective of a performer. This paper makes a comprehensive and multi-level stereoscopic analysis of music ontology and performance skills. Through the comprehensive analysis of the works, the author puts forward several personal suggestions and performance methods in the aspects of performance skills and emotional grasp. At the same time, the author excavates the intrinsic value of the works deeply. To promote the understanding and understanding of this musical work, to provide reference for the performer to understand and grasp the work.
【學(xué)位授予單位】：曲阜師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2013
【分類號】：J614;J624.3

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