钢琴伴唱《红灯记》中三首唱段的和声研究

发布时间：2018-06-17 18:08

本文选题：钢琴伴唱《红灯记》的创作 + 和声分析　；参考：《东北师范大学》2011年硕士论文

【摘要】：钢琴伴唱《红灯记》创作于文化大革命时期,是殷承宗等艺术家们为了挽救钢琴艺术所濒临的生存危机,在这种特殊的历史背景和文化环境中所创造出的全新艺术形式,至今广为流传。它是在样板戏京剧《红灯记》原唱腔的基础上,根据原剧跌宕起伏的剧情(中国共产党领导中国人民进行抗日武装斗争)在伴唱形式上加以改编的艺术作品,钢琴伴唱《红灯记》以唱腔旋律为主,在伴奏中巧妙地运用了钢琴织体、节奏、色彩等方面的特点,不断地与单声部的传统乐器相结合,使和声适应了京剧的唱腔,从而在艺术史上开辟了钢琴伴奏京剧的先河。又因其高度的艺术性、观赏性,尤其是符合当时政治宣传的需求,曾一度被奉为现代革命京剧,并与八大样板戏等高,成为文化大革命的典范,在文革期间红遍了祖国的大江南北。钢琴伴唱《红灯记》构建了西洋乐器之王与中国民族艺术之间的桥梁,不但融入了民族艺术的传统元素,还借鉴了欧洲古典和声理论、欧洲晚期浪漫派以及19世纪末俄罗斯民族乐派的特点,使传统艺术不断地推陈出新,与世界接轨。本文从钢琴伴唱《红灯记》的版本、内容等方面着笔,对作品的唱腔、和声进行了深入的分析,对作品所借鉴的和声风格、作品的理论意义及对现实的思考等方面问题进行了全面的探究。
[Abstract]:Piano accompaniment "Red Lantern" was created during the Cultural Revolution. It is a new art form created by Yin Chengzong and other artists in order to save the survival crisis of piano art in this special historical background and cultural environment. It is now widely spread. On the basis of the original singing of the Beijing Opera "Red Lantern Chronicles," it is an artistic work adapted in the form of accompaniment according to the ups and downs of the original drama (the Communist Party of China leads the Chinese people in the anti-Japanese armed struggle). The piano accompaniment "the Red Lantern" is mainly composed of singing melody. In the accompaniment, the characteristics of piano texture, rhythm, color, and so on are used skillfully, and the harmony is constantly combined with the traditional instruments in the monophonic part, so that the harmony adapts to the singing of Beijing Opera. Thus, in the history of art, the piano accompaniment to Beijing Opera pioneered. Because of its high artistic and ornamental quality, especially in line with the demands of political propaganda at that time, it was once regarded as a modern revolutionary Peking Opera, and was also regarded as a model of the Cultural Revolution with the eight model operas. During the Cultural Revolution, the great rivers and the north and south of the motherland were red. The piano accompaniment "Red Lantern" constructs a bridge between the king of western musical instruments and Chinese national art. It not only integrates the traditional elements of national art, but also draws lessons from European classical harmony theory. The characteristics of the late European Romantic School and the Russian National Music School at the end of the 19th century make the traditional art constantly bring forth the old and bring it into line with the world. This article from the piano accompaniment "Red Lantern" version, content and other aspects of the work of the singing, harmony in-depth analysis, the work of the style of harmony, The theoretical significance of the works and the thinking of reality and other aspects of a comprehensive exploration.
【学位授予单位】：东北师范大学
【学位级别】：硕士
【学位授予年份】：2011
【分类号】：J624.1

【引证文献】