论钢琴配弹在视唱教学中的运用

发布时间：2018-04-23 20:01

本文选题：钢琴配弹 + 视唱教学　；参考：《湖南师范大学》2011年硕士论文

【摘要】：钢琴配弹作为一门新兴、独立的学科课程,随着时代的发展,已经成为集音乐各学科知识与技能为一体的综合课。也可以说,钢琴即兴配弹是集钢琴演奏技术、键盘和声技术以及伴奏造型能力为一体的综合艺术。要想具备钢琴配弹能力,首先,必须具备一定的钢琴演奏技能,其次,掌握键盘和声知识也非常重要,因为伴奏是一种以和声为基础的多声部的组织形式,缺乏这种基础,也就谈不上伴奏的问题。在音乐专业教学中,视唱练耳是一门重要的基础理论和基本技能课程。从内容上讲,它主要通过视唱和听觉分析来提高学生音乐的耳朵,发展他们的音乐思维能力,培养音乐感受力,积累音乐语言,逐步加深学生对音乐的认知程度,从而更好地为音乐实践服务。视唱与练耳是两个不可分割的部分,而视唱在视唱练耳课中又占有重要地位,它是以训练准确读谱能力、提高音乐素养为主要目的的教学内容。视唱学习的核心在“唱”,它不仅包括对音高、节奏等音乐客观因素的精准把握,更包含对音乐作品风格的合理处理。人们常说钢琴是打开音乐殿堂的钥匙。长期以来,钢琴作为主要的视唱教学工具,它对于视唱的引导、情感的处理、风格的把握起到重要的作用。可以说,钢琴在视唱教学中具有不可替代的地位。虽然视唱教学中的钢琴配弹的理论知识与钢琴即兴配弹是相同的,但是在运用方式上又是存在差异的。一般所说的即兴配弹是为声乐(器乐)的演唱(演奏)塑造一个完整的音乐形象,而对于视唱曲的即兴配弹就不一定要完整的音乐。前者的即兴配弹是一个艺术表演,而视唱曲的钢琴配弹是学习而不是表演。因为视唱曲的伴奏有时只是引导音高、节奏,最后才对作品进行完整的演绎,所以视唱教学中的伴奏不一定要从头到尾的弹,可以弹多、弹少、甚至不弹。因此,钢琴配弹在视唱教学中的艺术处理显得富有意义。笔者认为,钢琴配弹水平的高低对视唱教学的质量将直接产生影响。通过研读大量文献资料以及教学实践,使我更加理解了钢琴配弹在视唱教学中的作用和意义。文章从钢琴配弹织体类型选择、钢琴配弹在视唱教学中的“休止”、视唱教师应具备的综合素养等方面来阐述钢琴配弹在视唱教学中的运用。试图通过文章分析和论证一些视唱教学材料,希望能够丰富视唱的教学内容,并在视唱教学中,使学生感受到钢琴配弹的艺术魅力。同时,笔者希望通过本文的研究,为高师视唱教学提供有益的参考,为视唱教学的发展提供有益的见解。
[Abstract]:As a new and independent subject course, piano playing has become a comprehensive course with the development of the times. It can also be said that piano improvisation is a comprehensive art which integrates piano playing technology, keyboard harmony technology and accompaniment modeling ability. In order to be able to play the piano, we must first have certain piano playing skills, and secondly, it is also very important to have a knowledge of keyboard harmony, because accompaniment is a kind of multi-part organization based on harmony, which lacks this foundation. There is no question of accompaniment. Solfeggio is an important basic theory and basic skill course in music teaching. In terms of content, it mainly improves the students' music ears through visual singing and auditory analysis, develops their musical thinking ability, cultivates their musical sensibility, accumulates musical language, and gradually deepens the students' cognition of music. In order to better serve music practice. Solfeggio and ear training are two inseparable parts, and solfeggio plays an important role in the course of solfeggio. It is a teaching content aimed at training the ability of reading music accurately and improving music literacy. The core of sight-singing learning lies in singing, which includes not only the accurate grasp of the objective factors of music, such as pitch and rhythm, but also the reasonable handling of the style of musical works. It is often said that the piano is the key to the hall of music. For a long time, piano, as the main teaching tool of video singing, plays an important role in guiding the sight singing, handling the emotion and grasping the style. It can be said that piano plays an irreplaceable role in the teaching of video singing. Although the theoretical knowledge of piano arrangement is the same as that of piano improvisation in the teaching of video singing, there are differences in the way of application. Generally speaking, improvisation is to create a complete musical image for the singing (playing) of vocal music, but it is not necessary to complete music for the improvisation of visual music. The former's improvisation is an artistic performance, while the piano of a visual song is a study rather than a performance. Because the accompaniment of the visual song is sometimes just to guide the pitch, rhythm, and finally to complete the interpretation of the work, so the accompaniment in the teaching of visual singing does not necessarily have to be played from beginning to end, can play more, play less, or even do not play. Therefore, the piano play in the teaching of the art of visual teaching seems to be meaningful. The author believes that the level of piano playing will have a direct impact on the quality of the teaching of video singing. Through reading a lot of literature and teaching practice, I understand the role and significance of piano playing in the teaching of video singing. This paper expounds the application of piano matching in the teaching of video singing from the aspects of the choice of piano texture, the "repose" of piano playing in the teaching of video singing, and the comprehensive accomplishment that the teacher should possess. This paper tries to analyze and prove some teaching materials of video singing in the hope of enriching the teaching content of video singing and making students feel the artistic charm of piano playing in the teaching of video singing. At the same time, the author hopes that through the study of this paper, it can provide useful reference for the teaching of video singing in teachers colleges and provide useful opinions for the development of the teaching of video singing.
【学位授予单位】：湖南师范大学
【学位级别】：硕士
【学位授予年份】：2011
【分类号】：J624.1

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