【摘要】：俄羅斯人民在19世紀(jì)下半葉至20世紀(jì)初這一特定歷史時期,在文化藝術(shù)的各個領(lǐng)域創(chuàng)造了令世界矚目的藝術(shù)精品,其整體藝術(shù)成就遠(yuǎn)遠(yuǎn)領(lǐng)先于同時期其他國家,其整體高度是其他任何國家無法比擬的。同時,整體的高度又托起了個人的高度,俄羅斯各個藝術(shù)領(lǐng)域中出現(xiàn)了杰出而富有魅力的世界級大師,并以此形成燎原之勢,俄羅斯天空中藝術(shù)群星璀璨�！拔幕咴币辉~即是對這一時期俄羅斯整體藝術(shù)發(fā)展?fàn)顩r的概括。在俄羅斯“文化高原”時期的社會歷史背景下,各類藝術(shù)日益繁榮,在最易于被大眾接受的音樂藝術(shù)中,鋼琴藝術(shù)成為其中最為重要的一部分。俄羅斯鋼琴藝術(shù)在吸取本民族藝術(shù)傳統(tǒng)與西方藝術(shù)精品的養(yǎng)料中不斷發(fā)展壯大,成為世界一流鋼琴學(xué)派。無論在鋼琴音樂創(chuàng)作、鋼琴演奏藝術(shù)還是在鋼琴藝術(shù)教育方面,都為世人展示了它的能量。 本文試圖深入到俄羅斯鋼琴藝術(shù)發(fā)展的根源之處,對“文化高原”時期鋼琴藝術(shù)的淵源、脈絡(luò)、鋼琴教育、演奏技術(shù)及風(fēng)格進(jìn)行詳細(xì)分析,以柴科夫斯基和拉赫馬尼諾夫的代表作品為實例,分析俄羅斯鋼琴音樂中獨特的創(chuàng)作風(fēng)格。并對俄羅斯“文化高原”時期的鋼琴藝術(shù)進(jìn)行美學(xué)透視,挖掘在意境、哲理性方面獨具的美學(xué)價值。在越來越多的外來文化與本民族文化交流中,我們不僅應(yīng)繼承本民族文化藝術(shù)的優(yōu)良傳統(tǒng),在歷史的發(fā)展過程中將這個傳統(tǒng)發(fā)揚光大。還要善于借鑒學(xué)習(xí)、消化吸收其他民族藝術(shù)的成果,并且把這種成果與自己民族的藝術(shù)傳統(tǒng)結(jié)合起來。筆者作為一名鋼琴基礎(chǔ)教育者,希望通過潛心研究俄羅斯鋼琴學(xué)派的淵源,汲取其鋼琴藝術(shù)發(fā)展的經(jīng)驗,結(jié)合我國本土文化的底蘊,做好鋼琴教育的基層工作。為我國能夠建立一個集西方藝術(shù)精華與中國民族文化為一體的中國鋼琴學(xué)派而努力。
[Abstract]:In the second half of the 19th century to the beginning of the 20th century, the Russian people created world-renowned fine arts in all fields of culture and art, and their overall artistic achievements were far ahead of those of other countries in the same period. Its overall height is unparalleled by any other country. At the same time, the height of the whole raised the height of the individual, and the outstanding and charming world-class masters appeared in various fields of art in Russia, and thus formed a prairie fire, and the art in the Russian sky was full of bright stars. The term "cultural plateau" is a summary of the development of Russian art in this period. Under the social and historical background of Russian "cultural plateau" period, all kinds of art are flourishing day by day, among which piano art becomes the most important part of the music art which is most easily accepted by the public. Russian piano art has developed into a world-class piano school by absorbing the national art tradition and the nourishment of western fine arts. No matter in piano music creation, piano playing art or piano art education, it shows the world its energy. This article attempts to go deep into the root of the development of Russian piano art, and analyzes in detail the origin, context, piano education, performance technology and style of piano art in the period of "cultural plateau". Taking the representative works of Tchaikovsky and Rakhmaninov as examples, this paper analyzes the unique creative style of Russian piano music. And the Russian "cultural plateau" period of piano art aesthetic perspective, explore the artistic conception, philosophical unique aesthetic value. In more and more foreign cultures and their cultural exchanges, we should not only inherit the fine tradition of our own culture and art, but also carry it forward in the course of historical development. We should also be good at learning, assimilate and absorb the achievements of other nationalities' art, and combine them with their own national artistic traditions. As a piano basic educator, the author hopes to study the origin of Russian piano school, draw on his experience of piano art development, combine with the local culture of our country, and do a good job in the basic level of piano education by studying the origin of Russian piano school. For our country can set up a Chinese piano school which integrates the essence of western art and Chinese national culture.
【學(xué)位授予單位】：河北大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2006
【分類號】：J624.1

【引證文獻(xiàn)】

相關(guān)期刊論文 前2條

1 楊曦婷;;淺談俄羅斯鋼琴教學(xué)的特點[J];讀與寫(教育教學(xué)刊);2012年11期

2 白云;;20世紀(jì)以來俄羅斯鋼琴藝術(shù)的審美特征探析[J];作家;2011年24期

相關(guān)碩士學(xué)位論文 前3條

1 付潤涵;柴科夫斯基《F大調(diào)創(chuàng)作主題與變奏曲Op.19,No.6》音樂與演奏的研究[D];東北師范大學(xué);2011年

2 劉竹君;普羅科菲耶夫鋼琴套曲《羅密歐與朱麗葉》（OP.75）創(chuàng)作風(fēng)格與演奏分析[D];東北師范大學(xué);2011年

3 聶萌慧;高加索山下的一朵奇葩[D];江西師范大學(xué);2008年

，

本文編號：2422062