本文關(guān)鍵詞： 四手聯(lián)彈 中國元素 《翻身的日子》演奏 合作 教學(xué)　出處：《內(nèi)蒙古師范大學(xué)》2016年碩士論文　論文類型：學(xué)位論文

【摘要】：鋼琴早在1709年就已于歐洲出現(xiàn),但直到十九世紀(jì)上半葉才傳入中國,距今僅百余年歷史。之后我國又經(jīng)歷了外敵入侵、十年內(nèi)戰(zhàn)、文化大革命等種種磨難,使得鋼琴事業(yè)的發(fā)展十分艱難曲折,要想創(chuàng)作出具有民族特色的音樂作品,更是難上加難。為了實現(xiàn)能在鋼琴上奏出富有中國傳統(tǒng)民族風(fēng)格的音樂作品,老一輩藝術(shù)家懷著崇高的藝術(shù)追求和堅定的理想信念,創(chuàng)作出眾多膾炙人口、經(jīng)久不衰的經(jīng)典曲目。比如有大家耳熟能詳?shù)劁撉俑木幥栋嬴B朝鳳》、《瀏陽河》、《翻身的日子》和鋼琴協(xié)奏曲《黃河》等等,這些鋼琴作品都將中國元素與西方現(xiàn)代技法融為一體,集多種風(fēng)格、多種形式、多種體裁于一身,把我國的鋼琴創(chuàng)作推向了一個新的高度,取得了較大成就,展現(xiàn)出中國民族音樂的極大魅力以及逐漸向多元化發(fā)展的美好愿景。同時,隨著中國鋼琴改編曲的創(chuàng)作與發(fā)展,對于這一課題的研究也呈逐年上升的趨勢。四手聯(lián)彈是鋼琴重奏中一項重要組成部分,公元16世紀(jì)末17世紀(jì)初在歐洲形成以來,被廣泛應(yīng)用于各種形式多樣的音樂場合。我國的四手聯(lián)彈演奏形式起步較晚,但是對于這一“新生事物”的到來抱有了極大的熱情和喜愛。目前,國內(nèi)各大賽事均增設(shè)了鋼琴四手聯(lián)彈組別,為發(fā)揚四手聯(lián)彈這種演奏形式做出了巨大貢獻。但從參賽者的作品選用來看,以外國作品居多,很少有人選擇中國曲目參賽。主要原因在于其作品數(shù)量遠(yuǎn)不及鋼琴獨奏作品數(shù)量多,而且形式單一,堪稱經(jīng)典的曲目更是寥寥無幾,更由于可參考的音頻、影像資料、相關(guān)文獻的大量缺乏而導(dǎo)致不受關(guān)注的尷尬局面。四手聯(lián)彈改編曲《翻身的日子》是一部典型的具有民族特色的器樂改編曲,是儲望華在時隔45年繼鋼琴獨奏版《翻身的日子》之后,2009年創(chuàng)作的新作品,不僅繼承了中國傳統(tǒng)民族風(fēng)格音樂,更融合了近現(xiàn)代西方作曲技法,可謂中西合璧。本文通過對《翻身的日子》這首四手聯(lián)彈改編曲的音樂特征以及在演奏、合作中可能會出現(xiàn)的種種問題進行研究分析,希望以一己之力為傳承我國的傳統(tǒng)民族音樂做出積極的推動作用,并呼吁作曲家創(chuàng)作更多、更經(jīng)典的具有民族風(fēng)格的作品,也希望能有更多的演奏者關(guān)注中國風(fēng)格的四手聯(lián)彈作品,共同促進我國傳統(tǒng)民族音樂的發(fā)展。
[Abstract]:Piano appeared in Europe as early as 1709, but it was not introduced into China until the first half of 19th century, which is only more than 100 years old. After that, our country experienced the invasion of foreign enemies and civil war for ten years. All kinds of tribulations such as the Cultural Revolution made the development of the piano career very difficult and tortuous to create music works with national characteristics. In order to realize the music works which are rich in Chinese traditional national style on the piano, the artists of the older generation have created many popular works with lofty artistic pursuit and firm ideals and beliefs. For example, we are familiar with the piano adaptation of "Birds, Chaofeng", "Liuyang River", "days of turning over" and piano concerto "Yellow River", and so on. All these piano works combine Chinese elements with modern western techniques, and combine various styles, forms and genres in one, pushing our country's piano creation to a new height and making great achievements. It shows the great charm of Chinese folk music and the beautiful vision of gradually developing towards diversification. At the same time, with the creation and development of Chinese piano adaptation. The research on this subject is also on the rise year by year. The four-hand ensemble is an important part of piano recital since it was formed in Europe at the end of 16th century and early 17th century AD. Is widely used in a variety of musical occasions. China's four-hand combination of playing forms started relatively late, but for this "new thing" has a great deal of enthusiasm and love. At present. All the major competitions in China have added the piano four-hand group, which has made a great contribution to the development of the four-hand joint play. But from the selection of the contestants' works, foreign works are the majority. The main reason is that the number of works is far less than the number of piano solo works, and the form of a single, can be called classic music is very few, but also due to the reference audio. The lack of a large number of relevant documents leads to an awkward situation which is not concerned about. The adaptation of the four-hand combined bomb "the Day of turning over" is a typical instrumental music adaptation with national characteristics. It is after 45 years later that Chu Wanghua created new works after piano solo edition, in 2009, which not only inherits the traditional Chinese folk music, but also integrates modern western composing techniques. It can be described as a combination of Chinese and Western. This paper studies and analyzes the musical characteristics of the adaptation of the four-hand combined bomb and the problems that may arise in the cooperation. I hope to make a positive contribution to inheriting the traditional folk music of our country, and appeal to the composer to create more and more classical works with national style. It is also hoped that more performers will pay attention to the four-hand bomb works in Chinese style and promote the development of Chinese traditional folk music.
【學(xué)位授予單位】：內(nèi)蒙古師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2016
【分類號】：J624.1
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本文編號：1471279