【摘要】：本文將中國(guó)和俄羅斯的手風(fēng)琴高等專業(yè)教學(xué)現(xiàn)狀作為研究?jī)?nèi)容，分別從手風(fēng)琴教育史、手風(fēng)琴教學(xué)論、手風(fēng)琴制作工藝三個(gè)方面對(duì)中俄兩國(guó)手風(fēng)琴高等專業(yè)教育進(jìn)行比較，一方面了解俄羅斯手風(fēng)琴高等專業(yè)教育發(fā)展情況、存在的優(yōu)勢(shì)以及新形勢(shì)下面臨的問(wèn)題，同時(shí)總結(jié)中國(guó)手風(fēng)琴高等專業(yè)教育現(xiàn)狀、所取得的成績(jī)以及存在的不足，通過(guò)借鑒俄羅斯手風(fēng)琴教育發(fā)展中的經(jīng)驗(yàn)，指出樂(lè)器革新和本民族風(fēng)格手風(fēng)琴音樂(lè)作品創(chuàng)作對(duì)今后中國(guó)手風(fēng)琴藝術(shù)發(fā)展所起的重要作用。 全文共分為三章： 第一章從中俄教育體系及音樂(lè)教育的歷史背景以及兩國(guó)高等音樂(lè)教育手風(fēng)琴專業(yè)的創(chuàng)建及其教學(xué)活動(dòng)兩個(gè)方面進(jìn)行比較，提出手風(fēng)琴室內(nèi)樂(lè)的教學(xué)將成為中國(guó)手風(fēng)琴發(fā)展的必然趨勢(shì)。 第二章從手風(fēng)琴教學(xué)理論研究及教材編寫、民族化手風(fēng)琴作品的創(chuàng)作以及音樂(lè)院校開(kāi)展的國(guó)內(nèi)外手風(fēng)琴藝術(shù)交流活動(dòng)三個(gè)方面深入展開(kāi)，，提出將民族元素運(yùn)用進(jìn)中國(guó)手風(fēng)琴作品的必要性。 第三章從兩國(guó)使用樂(lè)器上的差異指出自由低音手風(fēng)琴是中國(guó)手風(fēng)琴與國(guó)際接軌的重要標(biāo)志。
[Abstract]:Based on the current situation of accordion teaching in China and Russia, this paper compares accordion education in China and Russia from three aspects: accordion education history, accordion teaching theory and accordion production technology. On the one hand, to understand the development of the Russian accordion higher professional education, its advantages and problems in the new situation, and at the same time to summarize the current situation, achievements and shortcomings of the Chinese accordion higher professional education. By drawing lessons from the experience of the development of accordion education in Russia, this paper points out that the innovation of musical instruments and the creation of accordion musical works of their own style will play an important role in the development of Chinese accordion art in the future. The full text is divided into three chapters: the first chapter compares the educational system and the historical background of music education between China and Russia, and the establishment of accordion specialty and teaching activities of higher music education in the two countries. It is pointed out that the teaching of accordion chamber music will become an inevitable trend in the development of Chinese accordion. The second chapter starts from three aspects: the study of accordion teaching theory and the compilation of teaching materials, the creation of nationalized accordion works and the domestic and foreign accordion art exchange activities carried out by music colleges. Put forward the necessity of applying national elements to Chinese accordion works. The third chapter points out that the free bass accordion is an important symbol of Chinese accordion.
【學(xué)位授予單位】：南京師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2006
【分類號(hào)】：J624.3

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本文編號(hào)：2375906