【摘要】：藝術(shù)歌曲是聲樂演唱與鋼琴伴奏合力發(fā)揮效用、營造美輪美奐的織體音響效果才能成功演繹作品內(nèi)涵的綜合性藝術(shù)表演形式。筆者認(rèn)為,要彈好藝術(shù)歌曲的鋼琴伴奏,就需要演奏者反復(fù)閱讀曲譜,去探求、挖掘、體會認(rèn)識作曲家在創(chuàng)作藝術(shù)歌曲時所秉持的樂思以及作品內(nèi)蘊(yùn)的情感內(nèi)涵。而后在對藝術(shù)歌曲文本進(jìn)行深入解讀、解明曲情、明確情感內(nèi)涵的基礎(chǔ)上,將讀譜思考所得到的對于作曲家樂思及作品情感內(nèi)涵的體會認(rèn)識心得融會貫通起來,建立起對于藝術(shù)歌曲作品整體性的音樂體會、認(rèn)識思維,將讀譜之“思”與演奏之“行”有機(jī)地結(jié)合起來,將思考的成果巨細(xì)無遺地轉(zhuǎn)化為伴奏藝術(shù)實(shí)踐中對于具體演奏技法的合理選擇與恰當(dāng)運(yùn)用,才能夠從真正意義上達(dá)到讀譜之“思”與演奏之“行”在藝術(shù)實(shí)踐中的辯證統(tǒng)一。鑒于當(dāng)前在藝術(shù)歌曲演唱及教學(xué)中鋼琴伴奏未能受到充分重視的現(xiàn)狀,筆者選擇了《論聲樂鋼琴伴奏藝術(shù)實(shí)踐中“思”與“行”的辯證統(tǒng)一》為課題,來探尋聲樂歌曲鋼琴伴奏的藝術(shù)實(shí)踐中達(dá)成“思”與“行”辯證統(tǒng)一的規(guī)律和要領(lǐng)。本課題的研究分為如下五個部分展開:緒論介紹本課題的選題背景、學(xué)界研究現(xiàn)狀、創(chuàng)新之處、特色及重難點(diǎn)的分析;第一章解析聲樂鋼琴伴奏的概念內(nèi)涵,明確聲樂鋼琴伴奏對聲樂演唱的意義和功能;第二章去探尋促進(jìn)讀譜之“思”與演奏之“行”在藝術(shù)實(shí)踐中達(dá)成辯證統(tǒng)一的方法與途徑;第三章論證聲樂鋼琴伴奏者提升自身素養(yǎng)的努力方向和策略。結(jié)論對全文進(jìn)行概括總結(jié),并歸納、揭示出本文的核心觀點(diǎn)。本文指明了從對立、統(tǒng)一的角度來說,讀譜之“思”,實(shí)際上就可以歸結(jié)為對于音高、音色、響度、力度、速度等各種音樂成分、音樂要素在歌曲中的作用以及它們之間關(guān)系的理性認(rèn)識;而演奏之“行”,則是基于上述的理性認(rèn)識,去選擇特定的演奏技法、掌握技法運(yùn)用的分寸并調(diào)整到最適合的技術(shù)狀態(tài),去恰當(dāng)?shù)乇憩F(xiàn)出音高、音色、響度、力度、速度等各種音樂成分、音樂要素在歌曲中的作用以及它們之間的相互關(guān)系。這樣一來,我們就能夠在“對比、統(tǒng)一”這一辯證規(guī)律的指導(dǎo)下,將讀譜之“思”與演奏之“行”有機(jī)地結(jié)合起來,將思考的成果巨細(xì)無遺地轉(zhuǎn)化為伴奏藝術(shù)實(shí)踐中對于具體演奏技法的合理選擇與恰當(dāng)運(yùn)用,才能夠從真正意義上達(dá)到讀譜之“思”與演奏之“行”在藝術(shù)實(shí)踐中的辯證統(tǒng)一。
[Abstract]:The art song is a comprehensive art performance form in which vocal music singing and piano accompaniment work together to create beautiful texture sound effect, which can successfully interpret the connotation of the works. The author thinks that in order to play the piano accompaniment of artistic songs, it is necessary for the performer to read the music score repeatedly, to explore, excavate and understand the music thought held by the composer in the creation of artistic songs and the emotional connotation of the works. Then, on the basis of in-depth interpretation of the text of the art song, the understanding of the composer's musical thoughts and the emotional connotation of his works, the understanding and understanding of the composer's musical thoughts and the emotional connotation of his works have been fully integrated on the basis of the understanding of the emotional connotation of the composer's music and his works. To establish a musical experience of the integrity of the works of art songs, to understand the thinking, and to organically combine the "thinking" of reading music with the "line" of performance. In order to achieve the dialectical unity of "thinking" and "performance" in artistic practice, the rational choice and proper application of specific performing techniques in the practice of accompaniment art can be achieved from the true meaning of the "thinking" of reading music and the "act" of performance in the artistic practice by transforming the achievements of reflection into the reasonable choice and proper application of specific performing techniques in the practice of accompaniment. In view of the current situation that piano accompaniment has not been paid enough attention to in the singing and teaching of art songs, the author chooses "the dialectical unity of thinking" and "action" in the practice of vocal piano accompaniment art. To explore the artistic practice of vocal music piano accompaniment to achieve "thinking" and "line" dialectical unity of the law and essentials. The research of this subject is divided into five parts as follows: the introduction introduces the background of the topic, the current situation of academic research, the innovation, the characteristics and the analysis of the important and difficult points; The first chapter analyzes the concept connotation of vocal piano accompaniment, clarifies the meaning and function of vocal piano accompaniment to vocal music singing, and the second chapter explores the ways and means to promote the dialectical unity of "thinking" and "line" of music reading in artistic practice. The third chapter demonstrates the direction and strategy of vocal piano accompaniment to improve their accomplishment. Conclusion to summarize the full text, and sum up, reveal the core point of view of this paper. In this paper, it is pointed out that from the perspective of opposites and unity, the "thinking" of reading a spectrum can actually be attributed to various musical components, such as pitch, timbre, loudness, strength, speed, and so on. The role of music elements in songs and the rational understanding of their relationship; And the performance of the "line" is based on the above-mentioned rational understanding, to select a specific performance techniques, grasp the application of the techniques and adjust to the most appropriate technical status, to properly display pitch, tone, loudness, strength, Speed and other music components, music elements in the role of songs and their relationship. In this way, under the guidance of the dialectical law of "contrast, unity", we can organically combine the "thinking" of reading music with the "line" of performance. In order to achieve the dialectical unity of "thinking" and "performance" in artistic practice, the rational choice and proper application of specific performing techniques in the practice of accompaniment art can be achieved from the true meaning of the "thinking" of reading music and the "act" of performance in the artistic practice by transforming the achievements of reflection into the reasonable choice and proper application of specific performing techniques in the practice of accompaniment.
【學(xué)位授予單位】：河北師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2016
【分類號】：J624.1

【相似文獻(xiàn)】

相關(guān)期刊論文 前10條

1 孟丹;牡丹雖好,全靠綠葉扶──紀(jì)念鋼琴伴奏大師杰拉爾德·穆爾[J];鋼琴藝術(shù);2000年05期

2 胡自強(qiáng);論鋼琴伴奏在音樂表現(xiàn)中的位置[J];甘肅高師學(xué)報;2000年04期

3 周為民;鋼琴伴奏在聲樂教學(xué)中的幾個問題[J];交響.西安音樂學(xué)院學(xué)報;2000年02期

4 王君;談鋼琴伴奏教學(xué)要點(diǎn)[J];彭城職業(yè)大學(xué)學(xué)報;2000年03期

5 常紅,張楠;歌曲鋼琴伴奏需注意的幾個問題[J];齊齊哈爾大學(xué)學(xué)報(哲學(xué)社會科學(xué)版);2000年01期

6 蒲濤;聲樂鋼琴伴奏合作藝術(shù)探討[J];韶關(guān)大學(xué)學(xué)報(社會科學(xué)版);2000年01期

7 穆紅;;在烏克蘭重新認(rèn)識鋼琴伴奏[J];粵海風(fēng);2000年05期

8 倪林;也談鋼琴伴奏之地位[J];鋼琴藝術(shù);2001年06期

9 江志敏;淺論歌曲的鋼琴伴奏[J];寧波高等專科學(xué)校學(xué)報;2001年03期

10 張麗珠;舞蹈鋼琴伴奏淺談[J];藝術(shù)探索;2001年05期

相關(guān)會議論文 前2條

1 陳軼群;;淺析歌曲鋼琴伴奏織體的形象特征[A];高等黨校藝術(shù)教育理論研究與實(shí)踐[C];2002年

2 周瀅;;舞蹈伴奏之我見[A];高等學(xué)校藝術(shù)教育研究[C];2003年

相關(guān)重要報紙文章 前10條

1 張淑珍;走進(jìn)柴院系列文章之二 “談”鋼琴伴奏[N];音樂周報;2006年

2 唐穎;淺談鋼琴伴奏藝術(shù)[N];中國藝術(shù)報;2009年

3 趙小雅;培養(yǎng)學(xué)生鋼琴伴奏與編創(chuàng)能力[N];中國教育報;2002年

4 陳茴茴;想唱得更好嗎? 先彈好![N];音樂周報;2014年

5 呂健;如何彈好舞蹈鋼琴伴奏[N];中國文化報;2006年

6 張柯瑤;聲樂伴奏的辨證論[N];音樂周報;2002年

7 張佳林;鋼琴伴奏、合作鋼琴還是藝術(shù)指導(dǎo)?[N];音樂周報;2013年

8 孫迪颯;寂寞的舞蹈鋼琴伴奏[N];音樂周報;2005年

9 馬金泉 張佳林;被“誤讀”有多深[N];音樂周報;2008年

10 徐勵;藝術(shù)歌曲中的鋼琴伴奏藝術(shù)[N];音樂周報;2000年

相關(guān)碩士學(xué)位論文 前10條

1 孫丹紅;江蘇高師音樂教育專業(yè)鋼琴伴奏課調(diào)查與研究[D];南京藝術(shù)學(xué)院;2009年

2 魏珊;對高等師范院校鋼琴伴奏課程建設(shè)的思考[D];東北師范大學(xué);2007年

3 王皓晨;草原風(fēng)格歌曲中鋼琴伴奏的藝術(shù)特色研究[D];內(nèi)蒙古大學(xué);2015年

4 孟佳欣;論鋼琴伴奏能力的培養(yǎng)[D];西南交通大學(xué);2015年

5 付亞楠;論音樂聽覺在聲樂鋼琴伴奏中的作用[D];鄭州大學(xué);2015年

6 張笛;論聲樂鋼琴伴奏者的修養(yǎng)[D];哈爾濱師范大學(xué);2016年

7 羅龍;陳勇聲樂作品中鋼琴伴奏的民族音樂元素與作曲技法探析[D];云南藝術(shù)學(xué)院;2016年

8 劉艷晴;鋼琴伴奏對中國傳統(tǒng)音樂元素的借鑒[D];中國音樂學(xué)院;2016年

9 黃沙沙;“月圓相思后”中國民族聲樂伴奏的多樣性[D];中國音樂學(xué)院;2016年

10 馬鈺;論鋼琴伴奏在舞蹈編創(chuàng)中的實(shí)際應(yīng)用[D];西安音樂學(xué)院;2016年

，

本文編號：2468877