【摘要】：二胡是我國民族拉弦樂器之一,有著悠久的歷史,從作為戲曲伴奏樂器開始一直發(fā)展成為一件廣受歡迎的獨(dú)奏樂器,享有“中華民族民樂之王”、“東方小提琴”等美稱。二胡音色極似人聲,富有深刻的藝術(shù)感染力。隨著時(shí)代的進(jìn)步,二胡博采眾長(zhǎng),既保留傳統(tǒng)的、民族的藝術(shù)精華,同時(shí)又不斷吸取西方音樂的優(yōu)秀成果,為二胡藝術(shù)的發(fā)展開拓了新局面,但物極必反,這也使得二胡藝術(shù)在使用新理念新方法不當(dāng)?shù)那闆r下出現(xiàn)了一系列的問題。“民族的才是世界的”,近年來,我國二胡藝術(shù)在自身的發(fā)展過程中因過度追求西洋化而出現(xiàn)與傳統(tǒng)的、民族的音樂文化脫節(jié)現(xiàn)象。如二胡曲中出現(xiàn)了大量的現(xiàn)代作品,主要以模仿西洋樂器的純炫技風(fēng)格的樂曲,這類樂曲要求扎實(shí)、方法科學(xué)的快弓技術(shù),但是凸顯不了二胡本身具有的民族音樂特性。因此,在尋找符合二胡特質(zhì)、適合二胡演奏的一系列二胡曲類型中,筆者發(fā)現(xiàn),戲曲風(fēng)格類型的二胡曲既能夠展現(xiàn)我國傳統(tǒng)藝術(shù)魅力,也在二胡演奏技法的提高和延伸中有極大的發(fā)展空間。如魯日融先生的《秦腔主題隨想曲》、《迷糊調(diào)》、劉文金先生的《長(zhǎng)城隨想曲》等的戲曲風(fēng)格的樂曲類型,他們雖將傳統(tǒng)與現(xiàn)代作曲技法相結(jié)合,將二胡演奏戲曲風(fēng)格類型的技法提高到了一個(gè)新的高度,也取得了一定的成績(jī),很大程度上符合現(xiàn)代人的欣賞水準(zhǔn)和要求。但是這樣的作品少之甚少,可以說是二胡作品的一個(gè)大缺口。我國傳統(tǒng)戲曲之多,戲曲中的精華為二胡所用的元素是取之不盡的,二胡在演奏技法和樂曲風(fēng)格類型多樣化上如能夠借鑒和吸取我國戲曲優(yōu)點(diǎn),那么這既是繼承和發(fā)揚(yáng)我國傳統(tǒng)戲曲的途徑,也為發(fā)展二胡藝術(shù)提供了無限的寶藏。因此,我們需要不斷地去挖掘、搜集,將它們糅合變?yōu)闉闀r(shí)代所接受,為人民所喜愛的經(jīng)典二胡曲目。綜上所述,我們要將以傳統(tǒng)戲曲為素材的二胡戲曲風(fēng)格樂曲作為二胡藝術(shù)發(fā)展的新目標(biāo)和新契機(jī),對(duì)戲曲風(fēng)格類型專門性的演奏技法進(jìn)行深入的研究分析,以便更好地運(yùn)用到二胡演奏藝術(shù)中。所以,如何積極探索、不斷實(shí)踐、把握創(chuàng)新尺度、尊重傳統(tǒng)、保護(hù)和發(fā)展傳統(tǒng)戲曲、為繼承和發(fā)揚(yáng)中國民族音樂努力奮斗出表達(dá)民族藝術(shù)更深刻的二胡曲風(fēng)格類型,讓更多戲曲中的精華去豐滿二胡藝術(shù),這已成為了當(dāng)今二胡藝術(shù)發(fā)展的重大課題,同時(shí)也是讓傳統(tǒng)戲曲不斷發(fā)揚(yáng)光大的途徑之一。本文以二胡曲中戲曲風(fēng)格類型特征及其二胡特殊演奏技法,以二胡戲曲風(fēng)格類型的典型樂曲作為分析對(duì)象,將進(jìn)一步闡明戲曲風(fēng)格二胡曲的藝術(shù)特征以及演奏技法的特殊形態(tài),為更多的二胡學(xué)習(xí)者提供戲曲風(fēng)格二胡曲的理論和演奏等多方面的認(rèn)識(shí)。
[Abstract]:Erhu is one of the national string instruments in our country, which has a long history. It has been developed into a popular solo instrument as an opera accompaniment instrument, and enjoys the names of "King of Chinese Folk Music", "Oriental Violin" and so on. Erhu timbre is very similar to human voice, full of profound artistic appeal. With the progress of the times, Erhu not only preserves the artistic essence of the tradition and the nation, but also constantly absorbs the excellent achievements of western music, which opens up a new situation for the development of erhu art, but things must be reversed. This also makes erhu art in the use of new ideas and methods improperly appeared a series of problems. In recent years, the erhu art of our country is out of touch with the traditional music culture because of the excessive pursuit of westernization in the process of its own development. For example, there are a large number of modern works in Erhu Opera, mainly to imitate the pure dazzling style of western musical instruments. This kind of music requires solid, scientific fast bow technology, but can not highlight the national music characteristics of Erhu itself. Therefore, in the search for a series of erhu music types that accord with the characteristics of erhu and are suitable for erhu performance, the author finds that the erhu song of opera style can not only show the charm of Chinese traditional art. There is also great room for development in the improvement and extension of erhu playing techniques. For example, the types of opera style such as Mr. Lu Rilong's "the theme of Qin Dynasty", "confused tune", Mr. Liu Wenjin's "Great Wall Rhapsody" and so on, although they combine traditional and modern composition techniques. The techniques of erhu playing opera style have been raised to a new height, and some achievements have been made, which to a great extent meet the appreciation standards and requirements of modern people. However, there are very few such works, which can be said to be a big gap in erhu works. There are so many traditional operas in our country, the essence of the opera is inexhaustible for the elements used by erhu. Erhu can draw lessons from and absorb the advantages of Chinese opera in terms of the diversity of playing techniques and music styles. Then this is not only the way to inherit and carry forward the traditional opera of our country, but also provides unlimited treasure for the development of erhu art. Therefore, we need to constantly dig, collect, and blend them into classic erhu tracks that are accepted by the times and loved by the people. To sum up, we should take the erhu opera style music based on the traditional opera as the new goal and new opportunity of the development of erhu art, and carry on the thorough research and analysis to the opera style specialized playing technique. In order to better apply to the erhu playing art. Therefore, how to actively explore, constantly practice, grasp the scale of innovation, respect tradition, protect and develop traditional opera, in order to inherit and carry forward Chinese national music, strive to express the more profound style of erhu music, Let more of the essence of opera to enrich erhu art, which has become an important issue in the development of erhu art, but also one of the ways to make traditional opera continue to carry forward. This paper takes the characteristics of opera style types and its special playing techniques in erhu opera, and takes the typical music of erhu opera style as the object of analysis, which will further clarify the artistic characteristics of erhu opera style and the special form of playing techniques. For more erhu learners to provide opera style erhu music theory and performance and other aspects of understanding.
【學(xué)位授予單位】：東北師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：J632.21

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本文編號(hào)：2479240