論聽覺思維在鋼琴學習中的作用
[Abstract]:The ultimate goal of musicians in creating music works is to make music play the aesthetic value of art in social life. However, the most important way to achieve this aesthetic value is through the human auditory system. The spread of instrumental music depends on hearing to express people's thoughts and feelings. Specifically for piano players, after a long period of scientific and reasonable technical techniques of practicing the piano, through teachers explaining the creative background of the works, and then studying the works themselves, they extensively dabbled in the knowledge of other subjects of literature and art. In order to improve their discipline cultivation, we can play wonderful music, express beautiful melodies, and make both appreciators and performers realize the pleasure of body and mind from the flow of music language. This inner emotion can make us have a deeper understanding of life, enjoy the colorful world created by music, and experience the life outlook and philosophical thinking of the world that the composer wants to express through music. The ultimate purpose is to understand the mind, edify sentiment and sublimate oneself. For a piano player to express vivid and moving music, he should have strong musical hearing ability and ability to distinguish sound. Therefore, the musical player's auditory ability is the necessary prerequisite for expressing correct music and good music. The complete expression of a piece of music is not only expressed by the performer in the form of sound, but also through different musical processes. The first is the creative process: composers in different periods of life and the reflection of the world outlook presents a soliloquy of the inner world of their own, and then with the help of notes I record the form of sorting out; The second is the music player to record these music symbols through the musical instrument to deduce the notes on the music into a human auditory enjoyment; Finally, the music appreciator's self-evaluation and spiritual experience of the musical language. In each process, the human auditory system plays a primary role, except that each process has a different understanding of sound. Therefore, human auditory thinking is the premise of composer's music creation, the presentation of music playing thought, and the source of art absorption by appreciators.
【學位授予單位】:西北民族大學
【學位級別】:碩士
【學位授予年份】:2013
【分類號】:J624.1-4
【共引文獻】
相關期刊論文 前10條
1 王海洋;;略論音樂表演中的情感表達與藝術再造[J];北方文學(下半月);2011年05期
2 陳泓茹;;析心理素質與歌曲演唱[J];北方音樂;2010年12期
3 梁改梅;;析歌唱發(fā)聲中常見的問題及對策[J];北方音樂;2012年05期
4 王梅;淺談聲樂表演[J];大同職業(yè)技術學院學報;2005年01期
5 史文娟;;論決定音樂表演成功的三因素[J];電影評介;2009年05期
6 牛林;;論音樂的表演與審美表現(xiàn)[J];歌海;2010年06期
7 褚然;金晶;;音樂表演者必備的能力及素質[J];消費導刊;2009年13期
8 趙飛;;聲樂教學過程中歌唱意識的梳理[J];赤峰學院學報(自然科學版);2012年23期
9 胡安梅;;淺談聲樂初學者課堂練聲曲的設計[J];大眾文藝;2014年01期
10 周子翔;;音樂表演中心理素質調控能力的培養(yǎng)[J];淮北煤炭師范學院學報(哲學社會科學版);2008年02期
相關博士學位論文 前1條
1 劉洪;作為詮釋的音樂表演[D];上海音樂學院;2009年
相關碩士學位論文 前10條
1 廖婷;王中山箏樂藝術初探[D];江西師范大學;2010年
2 蘇飛;二胡曲《長城隨想》的音樂學分析[D];云南藝術學院;2011年
3 周佳音;論法國長笛學派對我國長笛演奏的影響[D];上海音樂學院;2005年
4 金貞子;朝鮮族“唱談”研究[D];延邊大學;2006年
5 陳靜;論古箏演奏藝術中的氣與韻[D];南京師范大學;2007年
6 丁月娟;論音樂表演中的創(chuàng)造性[D];河北大學;2009年
7 鄭延周;林德伯格長號演奏風格的探析[D];云南藝術學院;2010年
8 馬藝寧;箏曲《鐵馬吟》分析與演奏[D];南京藝術學院;2010年
9 羅琪娜;《大江東去》版本讀解與演唱詮釋[D];浙江師范大學;2012年
10 廖潤昌;少兒鋼琴學習中若干心理學問題研究[D];華中師范大學;2010年
,本文編號:2314739
本文鏈接:http://sikaile.net/wenyilunwen/qiyueyz/2314739.html