本文選題：笛樂 + 舞臺表演　； 參考：《揚(yáng)州大學(xué)》2017年碩士論文

【摘要】：舞臺表演是笛樂演奏立美的重要環(huán)節(jié),而我國地域遼闊、民族眾多、笛樂風(fēng)格迥異,各具特色的笛樂演奏家分布各地,他們共同構(gòu)成了我國笛樂文化多樣一體的風(fēng)格樣態(tài)。本文選取三位同時代對本地乃至全國笛樂風(fēng)格、流派,演奏審美等影響深遠(yuǎn)的,具有代表性演奏風(fēng)格的演奏家進(jìn)行個案分析,找出共同性與差異性,對其內(nèi)在藝術(shù)規(guī)律與音樂表象特征梳理、歸納、總結(jié),并采訪相關(guān)笛樂名家及其朋友,以此印證、支持文章觀點(diǎn),期望對豐富笛樂特色的多樣,追求舞臺演奏形式與審美理念融涵一體,起到一定的認(rèn)識與參照作用。笛樂,以笛為器,載以人文意象之樂音體系。本文選取三位舞臺表演經(jīng)驗豐富,在笛界享有盛譽(yù)的同時代演奏家:簡廣易先生(已故)、俞遜發(fā)先生(已故)及李大同老師。研究他們在同時代的笛樂舞臺上,各具特色的笛樂作品、表演樣式、演奏風(fēng)格、技術(shù)技巧、審美觀念等,其目的是通過典型的、具有差別性的演奏家的探究,期待梳理出此一時期中國笛子藝術(shù)具有典型性的代表、特質(zhì)風(fēng)貌、基本路徑等。而對現(xiàn)今仍然活躍在舞臺的李大同先生,我們期待在他未來的演奏生涯繼續(xù)再創(chuàng)輝煌。本文先從音樂舞臺表演、舞臺表演的本質(zhì),舞臺表演的本體特征與立美原則,以及器樂與舞臺表演原理方面展開,為個案研究做理論鋪墊。后引進(jìn)音樂表演美學(xué)觀點(diǎn)、方法、手段、內(nèi)容,及心理、情感、音響、臨場等等規(guī)律性的標(biāo)準(zhǔn),以及以此為參照,通過個案進(jìn)行笛子舞臺表演特色差異性與審美追求共同性的探究;通過代表性演奏家的分析,從個體到群體,從特殊到一般,從點(diǎn)到面,從局部到區(qū)域,從演奏家個人特點(diǎn)到民族文化整體特色的規(guī)律總結(jié);應(yīng)用表演心理學(xué)、音樂美學(xué)、音樂表演美學(xué)等多個學(xué)科領(lǐng)域的理論,對笛子舞臺表演個案的實(shí)踐進(jìn)行分析、認(rèn)識;同時,對三位演奏家的舞臺表演進(jìn)行比較研究,把握規(guī)律、感受整體。音樂舞臺表演是一種具有創(chuàng)造性、時空性和不可逆性的藝術(shù)表演形式。緒論后的第二章首先回答了何為舞臺表演、笛子與舞臺表演;其次,從多角度描述了笛子與舞臺的關(guān)系、笛樂舞臺表演發(fā)展史、二度創(chuàng)作和作者、演奏者、欣賞者表演的三維關(guān)系;第三章以三位演奏家為例,分析其笛子舞臺表演的共性和特殊性規(guī)律。寫作過程中,對李大同老師進(jìn)行了專訪,之后,還采訪了蔡敬民教授和方光耀教授;再次,分別對三位研究對象的作品、技藝、審美觀念,以及在音樂表演美學(xué)理論指導(dǎo)下,對其笛樂舞臺的表演規(guī)律、藝術(shù)特色進(jìn)行研究、比較;第四章三位演奏家的舞臺表演進(jìn)行差異性和共同性的總結(jié);第五章,從舞臺表演前的準(zhǔn)備、笛子在舞表演進(jìn)行時、及結(jié)束后平時訓(xùn)練達(dá)到的舞臺最佳狀態(tài),結(jié)合自身笛樂學(xué)習(xí)、研究與實(shí)踐,總結(jié)心得及提出了一些建議。寫作中,通過采訪,廣泛收集及研讀了有關(guān)音樂表演美學(xué)、笛子舞臺表演、個案分析等相關(guān)的書籍、論文與文稿等文獻(xiàn)。初步梳理了三位笛樂演奏家的藝術(shù)成就,運(yùn)用音樂表演美學(xué)觀點(diǎn)總結(jié)從局部到整體,特殊到一般的規(guī)律,并通過音視頻、照片及調(diào)查報告,找出表演風(fēng)格特色構(gòu)成的成因。期望在笛樂舞臺表演研究方面獲得新的角度與認(rèn)識,為今后自己與他人笛子表演提供一定的理論參照;在教學(xué)方面,提供一些可行、具體的訓(xùn)練方法;在美學(xué)方面,與笛樂舞臺表演結(jié)合,提高自己和聽眾及笛子表演者的審美素養(yǎng)。
[Abstract]:Stage performance is an important part of flute music playing the beauty of the United States. China has a vast territory, a large number of nationalities and different styles of flute music, and the flute music players are distributed all over the country. They constitute the style of the cultural diversity of the flute music in our country. This article selects three times for the local and even the National Flute style, school, and performance aesthetic. The far-reaching, representative performance style of the performers to carry out case analysis, find the commonality and difference, to comb, sum up, summarize, and interview the related flute music masters and their friends, in order to support the views of the article, and to seek the diversity of the rich flute characteristics and the pursuit of the stage performance form. Combining with the aesthetic concept, it plays a certain role of understanding and reference. Flute music, with flute as an instrument, is carried with the musical sound system of the humanistic image. This article selects three stage performers who have rich experience in the stage performance and enjoy a great reputation in the flute field: Mr. Jane Guang (late), Mr. Yu Xunfa (late) and Li Datong teachers. On the flute stage, the flute music works, performance styles, performance styles, technical skills and aesthetic ideas are the aim of this period. The purpose is to sort out the typical representative, feature, basic path, etc. of the Chinese flute art in this period. Mr. Li Datong, we expect to continue to create a brilliant future in his future performance. This article begins with the stage performance of the music stage, the essence of the stage performance, the noumenon and the principles of the stage performance, the instrumental music and the stage performance principles, and make a theoretical padding for the case study. Capacity, and the standard of psychological, emotional, sound, and on the field, and so on, and taking this as a reference, to explore the common characteristics of the characteristics difference between the flute stage performance and the aesthetic pursuit through the case; through the analysis of the representative performers, from the individual to the group, from the special to the general, from the point to face, from the local to the region, from the personal characteristics of the performers to the individual. The general characteristic of the national culture is summed up, and the practice of the performance psychology, music aesthetics and music performance aesthetics are applied to analyze and understand the practice of the flute stage performance. At the same time, the stage performance of the three performers is compared, the law is grasped and the whole is felt. The stage performance of the music is a kind of Creative, spatiotemporal, and irreversible artistic forms. The second chapter of the introduction first answers the stage performance, the flute and the stage performance; secondly, describes the relationship between the flute and the stage, the history of the flute stage performance, the two degree creation and the author, the performance of the player and the audience, and the third chapter of the three performance. In the process of writing, he interviewed Li Datong, and then interviewed Professor Cai Jingmin and Professor Fang Guangyao in the process of writing. Again, the works, skills, aesthetic ideas of the three research subjects, and the musical performance aesthetics theory, and the flute stage under the guidance of the music performance aesthetics theory respectively. The law of performance, the artistic characteristics of the study, comparison; the fourth chapter three players stage performance of the difference and the common sameness; the fifth chapter, the preparation before the stage performance, the flute in the dance performance, and after the end of the stage to achieve the best stage of the stage, combined with their own flute learning, research and practice, summary and mention Some suggestions are made. In writing, through interviews, a wide collection and study of music performance aesthetics, flute stage performance, case analysis and other related books, papers and manuscripts have been collected. The artistic achievements of the three Piper players are preliminarily combed, and the local to the general, special and general rules are summed up by the use of musical performance aesthetics. And through audio and video, photos and investigation reports, find out the causes of the characteristics of the performance style, expect to get a new angle and understanding in the study of the flute stage performance, provide some theoretical reference for the future of his own flute performance, and provide some practical and specific training methods in teaching; in aesthetics, and flute and dance. The combination of stage performance enhances the aesthetic quality of ourselves and listeners and flute performers.

【學(xué)位授予單位】：揚(yáng)州大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2017
【分類號】：J632.11

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本文編號：1893852