【摘要】：藝術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涵的綜合性藝術表演形式。筆者認為,要彈好藝術歌曲的鋼琴伴奏,就需要演奏者反復閱讀曲譜,去探求、挖掘、體會認識作曲家在創(chuàng)作藝術歌曲時所秉持的樂思以及作品內蘊的情感內涵。而后在對藝術歌曲文本進行深入解讀、解明曲情、明確情感內涵的基礎上,將讀譜思考所得到的對于作曲家樂思及作品情感內涵的體會認識心得融會貫通起來,建立起對于藝術歌曲作品整體性的音樂體會、認識思維,將讀譜之“思”與演奏之“行”有機地結合起來,將思考的成果巨細無遺地轉化為伴奏藝術實踐中對于具體演奏技法的合理選擇與恰當運用,才能夠從真正意義上達到讀譜之“思”與演奏之“行”在藝術實踐中的辯證統(tǒng)一。鑒于當前在藝術歌曲演唱及教學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實踐中“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實踐中達成“思”與“行”辯證統(tǒng)一的規(guī)律和要領。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、學界研究現(xiàn)狀、創(chuàng)新之處、特色及重難點的分析;第一章解析聲樂鋼琴伴奏的概念內涵,明確聲樂鋼琴伴奏對聲樂演唱的意義和功能;第二章去探尋促進讀譜之“思”與演奏之“行”在藝術實踐中達成辯證統(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。結論對全文進行概括總結,并歸納、揭示出本文的核心觀點。本文指明了從對立、統(tǒng)一的角度來說,讀譜之“思”,實際上就可以歸結為對于音高、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系的理性認識;而演奏之“行”,則是基于上述的理性認識,去選擇特定的演奏技法、掌握技法運用的分寸并調整到最適合的技術狀態(tài),去恰當?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)律的指導下,將讀譜之“思”與演奏之“行”有機地結合起來,將思考的成果巨細無遺地轉化為伴奏藝術實踐中對于具體演奏技法的合理選擇與恰當運用,才能夠從真正意義上達到讀譜之“思”與演奏之“行”在藝術實踐中的辯證統(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.
【學位授予單位】：河北師范大學
【學位級別】：碩士
【學位授予年份】：2016
【分類號】：J624.1

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