【摘要】：波泰西尼對(duì)低音提琴的獨(dú)奏發(fā)展有著不可忽視的貢獻(xiàn),他提出的"波泰西尼持弓方式",使低音提琴在演奏上更貼近大提琴的音色,他使用的三根弦樂(lè)器,改變了低音提琴以往的形象,他在樂(lè)器定弦上采用兩種不同的方式,以配合不同的演奏環(huán)境。協(xié)奏曲分為三個(gè)樂(lè)章,曲式結(jié)構(gòu)較為即興自由。第一樂(lè)章為奏鳴曲式,其再現(xiàn)部有所縮減;第二樂(lè)章為單三部曲式,篇幅短小但變化多端;第三樂(lè)章為奏鳴曲式,通篇使用拿波里舞曲的節(jié)奏型,充滿了濃厚的意大利特色。協(xié)奏曲的原始版本分別為鋼琴伴奏的b小調(diào)和弦樂(lè)隊(duì)伴奏的c小調(diào),從調(diào)性的設(shè)定可以推斷出一些演奏方面的相關(guān)信息,例如音量的改變、定弦的升高、樂(lè)器本身變化及作品難度系數(shù)等。這部協(xié)奏曲主要出版了五個(gè)版本,分析版本可以得出,定弦的要求逐漸被強(qiáng)調(diào),更加重視音響關(guān)系,在伴奏的編排中,引子部分的逐漸縮減符合了學(xué)院派教學(xué)的需要。譜面上的演奏標(biāo)記也逐漸詳細(xì),提供了很好的教學(xué)材料。筆者著重比對(duì)了其中兩個(gè)版本,從多個(gè)角度比對(duì)具體差異,并分析出編者要求的演奏效果以比較出具體的演奏差異。再?gòu)难葑鄬?shí)踐出發(fā),根據(jù)第二章的理論分析,依從作曲家的演奏風(fēng)格,對(duì)具體的樂(lè)句得出了演奏感悟。
[Abstract]:Botessini has made a great contribution to the development of the bass solo. He proposed the "Botessini way of holding the bow", which made the bass more close to the sound of the cello, and the three stringed instruments he used. Changing the image of the bass, he used two different ways to set the strings to suit different playing environments. Concerto is divided into three movements, the composition of the structure is more impromptu freedom. The first movement is sonata form, its reproduction part is reduced; the second movement is single trilogy form, the space is short but changeable; the third movement is sonata form, the whole part uses the rhythm type of Napoli dance, full of the strong Italian characteristic. The original version of the concerto is the piano accompaniment of the b minor chord in c minor. From the tone setting, we can infer some information about the performance, such as the change of the volume, the increase of the fixed string, The instrument itself changes and works difficulty coefficient and so on. The concerto is mainly published in five editions. The analysis shows that the requirement of string setting is emphasized gradually, and more attention is paid to the sound relationship. In the arrangement of accompaniment, the gradual reduction of the introduction meets the needs of academic teaching. The performance marks on the spectrum are also gradually detailed, providing very good teaching materials. The author compares the two versions, compares the specific differences from several angles, and analyzes the performance effect required by the editor to compare the specific performance differences. According to the theory analysis of the second chapter, according to the composer's playing style, the author obtains the feeling of the specific music sentence.
【學(xué)位授予單位】：上海音樂(lè)學(xué)院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：J622.4

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