北京小提琴艺术发展史研究

发布时间：2018-04-26 04:26

本文选题：小提琴艺术 + 北京　；参考：《首都师范大学》2005年硕士论文

【摘要】：起源于欧洲的小提琴与钢琴是世界音乐史上公认的最重要的两种乐器。小提琴音色细仼、韵味独特、富于歌唱性,享有“乐器皇后”之美称。它的产生、发展与繁荣,经历了一个漫长的历史过程。 17世纪末,小提琴由传教士带入中国清朝宫廷,早期的北京小提琴艺术活动主要局限在宫廷里和来北京的外国人当中。20世纪初,小提琴在北京还未普及,海外留学生的归国和外籍音乐家的到来推动了小提琴艺术在北京的发展。留学法国的马思聪是贡献极大、影响至今的代表人物。建国初期,北京的小提琴表演、教育与音乐创作呈现出一派繁荣景象。然而自1958年起,政治活动逐渐增多。1964年,在毛主席对文艺界的两个重要批示产生以后,左倾错误更加严重,随之而来的“文化大革命”导致了正常的小提琴演奏、教学活动完全中断,音乐艺术遭到了空前的破坏。“文革”结束、改革开放后,北京小提琴艺术重新获得蓬勃发展,包括演奏家、作曲家和提琴制作家等在内的一大批音乐家在国际大赛频频获奖。以林耀基、王振山等为代表的北京小提琴家们不但学习和继承了法比学派、俄罗斯学派先进的理念与技术,而且还逐渐把它发展成为具有中国特色的小提琴理论和演奏艺术。事实证明,当代北京的小提琴教学水平、演奏艺术已步入国际水平的行列,中央音乐学院的小提琴专业音乐教育代表了北京乃至全国小提琴音乐教育的最高水平。可以说,北京作为政治文化中心和小提琴在中国的发源地,它的小提琴发展史就是一部中国小提琴艺术史的缩影。本文立足于北京,从教学、演奏、科研、创作及制作业等各个方面对北京小提琴艺术发展史的脉络进行梳理,并以此为基础,尝试分析与总结在国际大环境下的北京小提琴音乐的特征、优势及存在的问题,以期为北京乃至全国的小提琴艺术理论的发展和完善、音乐史学的丰富提供一些参考性的材料。
[Abstract]:The violin and piano originated in Europe are recognized as the two most important musical instruments in the history of music in the world. Violin tone fine, unique flavor, full of singing, enjoy the "queen of musical instruments" laudatory name. Its emergence, development and prosperity, experienced a long historical process. At the end of the 17th century, the violin was brought into the Qing court by missionaries. The early Beijing violin art activities were mainly confined to the palace and among the foreigners who came to Beijing at the beginning of the 20th century. The violin had not been popularized in Beijing. The return of overseas students and the arrival of foreign musicians have contributed to the development of violin art in Beijing. Ma Sicong, who studied in France, is a representative who has made great contributions and influenced so far. In the early days of the founding of the people's Republic of China, Beijing's violin performance, education and music creation took on a prosperous scene. Since 1958, however, political activity has increased. In 1964, after Chairman Mao's two important instructions to the literary and art world came into being, the left-leaning error became even more serious, and the "Cultural Revolution" that followed led to normal violin playing. The teaching activity was completely interrupted, the music art suffered unprecedented destruction. With the end of the Cultural Revolution and the reform and opening up, the violin art of Beijing has gained a vigorous development again. A large number of musicians, including performers, composers and violinists, have frequently won prizes in international competitions. The Beijing violinists, such as Lin Yao-ji and Wang Zhenshan, not only studied and inherited the advanced ideas and techniques of the Fabian School and the Russian School, but also gradually developed it into a violin theory and playing art with Chinese characteristics. Facts have proved that the violin teaching level and the performing art of contemporary Beijing have stepped into the international level, and the violin professional music education of the Central Conservatory of Music represents the highest level of violin music education in Beijing and even in the whole country. It can be said that Beijing, as the center of political culture and the birthplace of violin in China, its violin history is a microcosm of the history of Chinese violin art. Based on Beijing, this paper combs the history of Beijing violin art development from teaching, performance, scientific research, creation and production, and based on it, This paper attempts to analyze and summarize the characteristics, advantages and existing problems of violin music in Beijing under the international environment, in order to provide some reference materials for the development and perfection of violin art theory in Beijing and the whole country, and the enrichment of music history.
【学位授予单位】：首都师范大学
【学位级别】：硕士
【学位授予年份】：2005
【分类号】：J622.1

【引证文献】