在二胡教學(xué)演奏中認(rèn)識演奏技巧與音樂表現(xiàn)的相互關(guān)系
發(fā)布時(shí)間：2018-11-05 20:59
【摘要】：如何在二胡的學(xué)習(xí)過程與舞臺(tái)表演實(shí)踐中,認(rèn)識演奏技巧與音樂表現(xiàn)的相互關(guān)系,是二胡學(xué)習(xí)中一個(gè)揮之不去、涉及到教學(xué)、演奏以及藝術(shù)修養(yǎng)、文化素養(yǎng)方方面面的重要問題。本文的研究,依據(jù)的是隨宋飛老師習(xí)琴七年的所思所得,其中的認(rèn)識,都來自于跟隨宋飛老師的學(xué)習(xí)和舞臺(tái)實(shí)踐。本文從四個(gè)章節(jié)分別展開論述。其中第一章主要談我在經(jīng)歷的三個(gè)不同的學(xué)習(xí)階段中,對學(xué)習(xí)中面對的演奏技巧與音樂表現(xiàn)問題進(jìn)行反思;第二章分別從面對二胡的傳統(tǒng)作品、風(fēng)格性作品、現(xiàn)代創(chuàng)作作品、跨界作品的學(xué)習(xí),談如何處理演奏技巧與音樂表現(xiàn)的問題;第三章分別從本科畢業(yè)音樂會(huì)和碩士中期、碩士畢業(yè)音樂會(huì)的準(zhǔn)備、完成談如何面對演奏技巧與音樂表現(xiàn)的問題;第四章主要從提升多種審美、立美能力,豐富音樂的表現(xiàn)力的角度,根據(jù)宋飛老師的教學(xué)實(shí)踐和自己在學(xué)習(xí)中的所思所得,談以什么樣的審美態(tài)度和標(biāo)準(zhǔn)去鑒賞和演奏音樂,以及如何在二胡演奏中學(xué)會(huì)“遷移”,并從其他藝術(shù)中、從生活中、從視覺與聽覺的轉(zhuǎn)換中學(xué)習(xí)遷移,獲得靈感,將藝術(shù)與生命相融,從而讓二胡的音樂演奏更加豐富多彩。本文認(rèn)為,在宋飛老師那里,“技(演奏技巧)”與“音(音樂表現(xiàn))”或“技(演奏技巧)”與“情(情感表現(xiàn))”并非是對立的,而是統(tǒng)一的,最終的目的是為了表達(dá)“情”。在兩者統(tǒng)一的情況下,從某種意義上可以說,“技術(shù)即音樂、音樂即技術(shù)”。宋飛老師對于演奏技巧的認(rèn)知是全面而辨證的。在宋飛老師看來,演奏技巧不僅是對樂器的操控,更應(yīng)當(dāng)包含認(rèn)識、理解和表現(xiàn)音樂的內(nèi)涵,并在演奏中達(dá)到音心的和諧。宋飛老師教學(xué)的終極目標(biāo)是,通過對學(xué)生演奏技巧與音樂表現(xiàn)內(nèi)涵多維度、多角度深入淺出的訓(xùn)練、引導(dǎo)與熏染,使學(xué)生們最終能夠通過音樂,以更高的視角和眼界去看待世界。讓學(xué)生用音樂的方式去和歷史、當(dāng)代、未來以及自我、他人進(jìn)行溝通,甚至跨越地域國界、超越宇宙萬物。宋飛老師的藝術(shù)境界及其追求,又是和中國古典主義美學(xué)相通的。在宋飛老師那里,演奏和表現(xiàn)、技和情的統(tǒng)一,本身就是一種生命狀態(tài),她提出的講的“心手相忘”,與中國傳統(tǒng)美學(xué)精神相契合,正是王國維在《人間詞話》中講的“意境兩忘、物我一體”的藝術(shù)境界。
[Abstract]:How to understand the relationship between playing skills and musical performance in erhu learning process and stage performance practice is a lingering problem in erhu learning, which involves teaching, playing and artistic accomplishment. Important issues in all aspects of cultural literacy. The research of this paper is based on what Song Fei learned after seven years of playing piano, and his knowledge comes from his study and stage practice. This paper is discussed from four chapters. In the first chapter, I mainly talk about the performance of playing skills and music performance in the three different learning stages. The second chapter discusses how to deal with the problems of playing skills and music performance from the study of the traditional works, stylistic works, modern creative works and cross-border works in the face of Erhu. The third chapter discusses how to face the problems of playing skills and music performance from the undergraduate graduation concert and the intermediate stage of the master's degree and the preparation of the master's graduation concert respectively. The fourth chapter mainly discusses what kind of aesthetic attitude and standards to appreciate and play music according to Song Fei's teaching practice and his own thinking in his study from the angle of promoting various kinds of aesthetics, setting up beauty ability and enriching the expressive power of music. And how to learn "transfer" in erhu playing, and from other art, from life, from the transformation of vision and hearing, to get inspiration, to blend art and life, so as to make erhu music play more colorful. In the view of Song Fei, "skill" and "sound (music performance)" or "technique (playing skill)" and "emotion (emotion expression)" are not opposed to each other, but are unified. The ultimate purpose is to express "love". In a sense, technology is music, music is technology. Song Fei's understanding of playing skills is comprehensive and dialectical. In the view of Song Fei, playing skill is not only the manipulation of musical instruments, but also includes understanding, understanding and expressing the connotation of music, and achieving harmony of sound heart in playing. The ultimate goal of Song Fei's teaching is to guide and influence the students through the training of the students' playing skills and musical performance connotation in many dimensions and from many angles, so that the students can finally pass through the music. Look at the world from a higher perspective and perspective. Let students communicate with history, contemporary, future and self, others, even across regional boundaries, beyond the universe. Song Fei's artistic realm and pursuit are similar to Chinese classicism aesthetics. In Song Fei's case, the unity of playing and performance, skill and emotion is itself a state of life. What she put forward as "forgetting each other" coincides with the spirit of traditional Chinese aesthetics. It is Wang Guowei's artistic realm of "forgetting the artistic conception and integrating the matter and me" in the words of ci on earth.
【學(xué)位授予單位】：中國音樂學(xué)院
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2017
【分類號】：J632.21-4
本文編號：2313443
[Abstract]:How to understand the relationship between playing skills and musical performance in erhu learning process and stage performance practice is a lingering problem in erhu learning, which involves teaching, playing and artistic accomplishment. Important issues in all aspects of cultural literacy. The research of this paper is based on what Song Fei learned after seven years of playing piano, and his knowledge comes from his study and stage practice. This paper is discussed from four chapters. In the first chapter, I mainly talk about the performance of playing skills and music performance in the three different learning stages. The second chapter discusses how to deal with the problems of playing skills and music performance from the study of the traditional works, stylistic works, modern creative works and cross-border works in the face of Erhu. The third chapter discusses how to face the problems of playing skills and music performance from the undergraduate graduation concert and the intermediate stage of the master's degree and the preparation of the master's graduation concert respectively. The fourth chapter mainly discusses what kind of aesthetic attitude and standards to appreciate and play music according to Song Fei's teaching practice and his own thinking in his study from the angle of promoting various kinds of aesthetics, setting up beauty ability and enriching the expressive power of music. And how to learn "transfer" in erhu playing, and from other art, from life, from the transformation of vision and hearing, to get inspiration, to blend art and life, so as to make erhu music play more colorful. In the view of Song Fei, "skill" and "sound (music performance)" or "technique (playing skill)" and "emotion (emotion expression)" are not opposed to each other, but are unified. The ultimate purpose is to express "love". In a sense, technology is music, music is technology. Song Fei's understanding of playing skills is comprehensive and dialectical. In the view of Song Fei, playing skill is not only the manipulation of musical instruments, but also includes understanding, understanding and expressing the connotation of music, and achieving harmony of sound heart in playing. The ultimate goal of Song Fei's teaching is to guide and influence the students through the training of the students' playing skills and musical performance connotation in many dimensions and from many angles, so that the students can finally pass through the music. Look at the world from a higher perspective and perspective. Let students communicate with history, contemporary, future and self, others, even across regional boundaries, beyond the universe. Song Fei's artistic realm and pursuit are similar to Chinese classicism aesthetics. In Song Fei's case, the unity of playing and performance, skill and emotion is itself a state of life. What she put forward as "forgetting each other" coincides with the spirit of traditional Chinese aesthetics. It is Wang Guowei's artistic realm of "forgetting the artistic conception and integrating the matter and me" in the words of ci on earth.
【學(xué)位授予單位】：中國音樂學(xué)院
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2017
【分類號】：J632.21-4
【參考文獻(xiàn)】
相關(guān)期刊論文 前3條
1 宋飛;;在“中國弓弦藝術(shù)節(jié)”學(xué)術(shù)研討會(huì)上的四次發(fā)言[J];中國音樂;2013年03期
2 宋飛;;二胡演奏中的二度創(chuàng)作[J];黃鐘(中國.武漢音樂學(xué)院學(xué)報(bào));2011年04期
3 宋國生;;試論二胡演奏中的體態(tài)動(dòng)律和氣息運(yùn)用[J];音樂學(xué)習(xí)與研究;1989年02期
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