【摘要】：第二次世界大戰(zhàn)后，世界性的手風琴藝術(shù)形成了有眾多專業(yè)作曲家進行創(chuàng)作的格局，并出現(xiàn)了大量的現(xiàn)代手風琴作品。東歐是現(xiàn)代手風琴創(chuàng)作的搖籃，除了俄羅斯作曲家，，波蘭、烏克蘭及前南斯拉夫等地也為手風琴發(fā)展做出了突出貢獻。波蘭作曲家博丹·佩魯茲（Bogdan Precz）以其獨具一格的作曲技法和風格多樣的演奏在20世紀末的手風琴領(lǐng)域占有重要的位置。他的作品《3+3+2》、《12in4》等，以獨特的節(jié)奏感和技術(shù)性成為音樂會和各大比賽的必選曲目之一。 現(xiàn)代手風琴作品較難理解和把握，我們應(yīng)該從深層次對作品的框架和技法進行分析研究。筆者將主要通過對《12in4》曲式和演奏分析，闡述其在二十世紀手風琴音樂中的意義。
[Abstract]:After the second World War, the world accordion art formed many professional composers to create the pattern, and a large number of modern accordion works. Eastern Europe is the cradle of modern accordion creation. Besides Russian composers, Poland, Ukraine and former Yugoslavia have also made outstanding contributions to the development of accordion. Polish composer Bodan Peruzzi (Bogdan Precz) played an important role in the field of accordion at the end of the 20th century with his unique composition techniques and various styles. His works < 332 >, < 12in4 >, etc., with a unique sense of rhythm and technicality, have become one of the must-selected tracks for concerts and major competitions. It is difficult to understand and grasp the modern accordion works. The author will expound its significance in accordion music in the 20th century by analyzing the form and performance of "12in4".
【學位授予單位】：天津音樂學院
【學位級別】：碩士
【學位授予年份】：2015
【分類號】：J624.3

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1 廖一tD;史春麗;;手風琴輪指演奏技術(shù)的訓練及應(yīng)用[J];音樂創(chuàng)作;2009年02期

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