本文選題：鋼琴改編曲 + 花鼓　； 參考：《內(nèi)蒙古師范大學(xué)》2015年碩士論文

【摘要】：瞿維先生的《花鼓》、崔世光先生的《花鼓》、奚其明先生的《湖南花鼓》以及黎英海先生的《花鼓》是四位鋼琴作曲家吸取了大量的民間音樂(lè)素材,并且運(yùn)用了多種的創(chuàng)作手法,創(chuàng)作出了這四首具有濃厚的中國(guó)民族民間特色的鋼琴作品。本人將通過(guò)對(duì)崔世光先生、瞿維先生、奚其明先生以及黎英海先生的藝術(shù)生涯以及他們的音樂(lè)創(chuàng)作進(jìn)行研究,分析出四首《花鼓》的民間音樂(lè)元素以及在曲式、和聲、節(jié)奏、旋律等方面的創(chuàng)作特色,進(jìn)而分析出四首《花鼓》作品的現(xiàn)實(shí)意義與應(yīng)用價(jià)值。使演奏者可以更好的認(rèn)識(shí)與了解四位作曲家,并演奏好這四首鋼琴作品。論文共包含五個(gè)部分:第一部分:簡(jiǎn)單介紹中國(guó)鋼琴改編曲的形成與發(fā)展,了解它在中國(guó)音樂(lè)史上的重要地位。第二部分:簡(jiǎn)單的對(duì)花鼓進(jìn)行介紹,了解它所流行的地區(qū),以及不同地區(qū)的花鼓,特點(diǎn)的不同。第三部分:從五個(gè)方面對(duì)四首鋼琴作品的特性進(jìn)行對(duì)比分析,第一,介紹四首鋼琴改編曲《花鼓》的創(chuàng)作背景;第二,從音樂(lè)本體出發(fā),分析作品形式的統(tǒng)一性與獨(dú)特性;第三,和聲手法上的傳統(tǒng)性與現(xiàn)代性;第四,取材方式上的一致性與差異性;第五,對(duì)民間器樂(lè)的模仿性。第四部分:從曲式、旋律線、力度、踏板等方面對(duì)四首《花鼓》進(jìn)行深入的音樂(lè)分析,并在演奏技法方面進(jìn)行較詳細(xì)的闡述。第五部分:從三個(gè)方面闡述研究崔世光先生的《花鼓》、瞿維先生的《花鼓》、奚其明先生的《湖南花鼓》與黎英海先生的《花鼓》的現(xiàn)實(shí)意義與應(yīng)用價(jià)值。
[Abstract]:Mr. Qu Wei's Flower Drum, Cui Shiguang's Flower Drum, Xi Qiming's Hunan Flower Drum and Li Yinghai's Flower Drum are four piano composers who draw on a great deal of folk music material and use a variety of creative techniques. Created the four piano works with strong Chinese folk characteristics. I will analyze the folk music elements of four "Flower Drum" by studying the artistic career of Mr. Cui Shi-guang, Mr. Qu Wei, Mr. Xi Qiming and Mr. Li Yinghai. The author analyzes the realistic significance and application value of four pieces of Flower Drum. So that players can better understand and understand the four composers, and play these four piano works. The thesis consists of five parts: the first part: briefly introduces the formation and development of Chinese piano adaptation and understands its important position in the history of Chinese music. The second part: a brief introduction to the flower drum, to understand its popular areas, as well as different regions of the flower drum, the characteristics of the different. The third part analyzes the characteristics of four piano works from five aspects. Firstly, it introduces the background of the creation of the four piano adaptations of "Flower Drum", second, from the music Noumenon, analyzes the unity and uniqueness of the form of the works. Thirdly, the tradition and modernity of harmony technique; fourth, the consistency and difference in the way of selecting materials; and fifth, the imitation of folk instrumental music. The fourth part: from the music form, the melody line, the dynamics, the pedal and so on, carries on the thorough music analysis to the four "Flower Drum", and carries on the more detailed elaboration in the performance technique aspect. The fifth part expounds the practical significance and application value of studying Cui Shiguang's Flower Drum, Qu Wei's Flower Drum, Xi Qiming's Hunan Flower Drum and Li Yinghai's Flower Drum from three aspects.
【學(xué)位授予單位】：內(nèi)蒙古師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2015
【分類(lèi)號(hào)】：J624.1

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相關(guān)期刊論文 前2條

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本文編號(hào)：1890030