库普兰、拉莫音乐在F.B.手风琴上的“再现”

发布时间：2018-05-21 19:09

本文选题：自由低音手风琴 + 巴洛克键盘音乐　；参考：《山西大学》2006年硕士论文

【摘要】：自由低音手风琴问世是手风琴制造业上的巨大改良和突破，通过这样实质性的改进，手风琴的演奏音域得到了更大的拓宽，，音乐表现手法及演奏技巧也因此变得更为丰富和多样化。随着自由低音手风琴的不断普及，巴洛克作曲家拉莫和库普兰的键盘音乐作品越来越受到重视。由于自由低音可以较为完整地演奏巴洛克时期键盘作品，再加上手风琴的音色与巴洛克时期盛行的键盘乐器的音色的相似性，演奏者在演奏巴洛克作品时，能够在很大程度上展现当时的音乐格调。另外，巴洛克的音乐是建立在多旋律结合基础上的织体，它十分讲究各声部自身的独立进行和相互间的良好关系，并且由此形成了一系列的逻辑和格律。这种从艺术中得到的逻辑感和格律感的训练，必将在潜移默化中使我们的抽象感、秩序感得到提高，并由此而增强演奏者自身的艺术理解能力和表现能力。目前国内外对于手风琴演奏巴洛克时期音乐的研究大部分都集中在巴赫和斯卡拉蒂的作品上，然而对库普兰与拉莫键盘作品这个专题的理论研究却相对较为欠缺，缺乏针对这一专题进行较为广泛和深入的探讨。本文首先通过自由低音手风琴乐器的发展与作品走向，结合巴洛克时期的音乐风格、键盘乐器特点的研究来讨论库普兰、拉莫键盘音乐作品的特性；同时融入在其演奏中的触键、音色、风箱运用等技巧，并结合自己对自由低音手风琴的学习、音乐会的观赏和欣赏CD中的一些体会来论述在手风琴演奏库普兰、拉莫作品中应遵循的规范，并从技术和艺术两个角度提出了一些自己的观点和看法，旨在有助于演奏者对作品内容的深入了解，把握作品的演奏风格，准确的再现作品的内涵，并赋予巴洛克音乐以自由低音手风琴特有的艺术魅力。
[Abstract]:The advent of the free bass accordion is a great improvement and breakthrough in the accordion manufacturing industry. Through such substantial improvement, the playing range of the accordion has been further broadened. As a result, musical performance techniques and performance techniques have become richer and more diverse. With the increasing popularity of free bass accordions, Baroque composers Lamo and Kupland's keyboard music have received more and more attention. Because free bass can play the Baroque keyboard more completely, and because the accordion's timbre is similar to the timbre of the keyboard instruments prevailing during the Baroque period, the performer plays Baroque. To a large extent can show the style of music at that time. In addition, Baroque's music is a texture based on the combination of multiple melodies. It pays great attention to the independent and good relations of each voice itself, and thus forms a series of logic and rhythm. This kind of training of logic and rhythm will improve our sense of abstraction and order in the process of imperceptibly, and thus enhance the ability of the performer to understand and express his own art. At present, most of the studies on accordion playing Baroque period are focused on the works of Bach and Scarlatti, but the theoretical research on the theme of Kupland and Lamo keyboard works is relatively lacking. Lack of more extensive and in-depth discussion on this topic. This paper first discusses the characteristics of Kupland and Lamo's keyboard music works through the development and trend of free bass accordion instruments, combined with the music style of Baroque period and the characteristics of keyboard instruments. At the same time, it integrates the skills of touch key, timbre, bellows and so on, and discusses playing Kupland on the accordion by combining with his own experience in learning the free bass accordion, watching the concert and appreciating the CD. The norms that should be followed in Ramo's works are put forward from two aspects of technology and art. The aim is to help the performer to understand the content of the work, grasp the style of performance, and accurately reproduce the connotation of the work. And to give Baroque music with the free bass accordion unique artistic charm.
【学位授予单位】：山西大学
【学位级别】：硕士
【学位授予年份】：2006
【分类号】：J624.3

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