弦乐器常用演奏技法在电子管风琴上的实现

发布时间：2018-11-01 17:47

【摘要】：作为包容性极强的现代电子乐器,电子管风琴拥有不同风格、不同地域、不同类型音乐的不同音色。其除了可以演奏专门的电子管风琴作品之外,还擅长将电子音乐、流行音乐、交响音乐等不同类别的音乐融合其中。本文将从如下四方面加以论述：引言作为电子乐器的一种,电子管风琴有多种音源,这些音源是以管风琴乐器的演奏形式与其相似的基本构造作为基础而形成的；如何将传统乐器的音色更为出色、全面的表现出来,如何与作品形成有机的整体,笔者认为,模仿的相似度是其成败的关键;本文拟以电子管风琴弦乐演奏技法的移植为切入点加以探讨。第一章对于电子管风琴再现管弦乐器音乐审美思维的探讨：作为一件多声部乐器,在演奏中,电子管风琴往往需要同时发出若干种乐器的声音,在这种音色组合中,其特点就是讲求整体交响性的艺术,这其中又包含了：音响效果的艺术、演奏技术处理的艺术两方面。这两方面可以说不分主次,实现“音色”与“声学乐器演奏技法”对音响的统一,最终尚需达到审美目标的实现与追求。第二章电子管风琴可移植的弦乐音乐筛选标准：对于电子管风琴的音色而言,在演奏由多种声学乐器组合而成的管弦乐队作品时,其包含的声学乐器的音色不但要追求是否“像”某件真实声学乐器的音响标准,还要结合该音色是否适合某种演奏方法,而非独立对某个音色进行主观的审美判断。第三章弦乐器常用演奏技法与其在电子管风琴上的实现：在电子管风琴演奏管弦乐作品时,其意义并非是完全“再现”管弦乐队的音色。其核心还应通过电子管风琴平台运用管弦乐的表现手段再现“作品”本身。因此,掌握各种乐器演奏技法、音色制作技巧,对于电子管风琴演奏者诠释音乐作品是尤为重要的。结论弦乐作品在电子管风琴演奏平台上的移植,一直是一项业内公认的、难度较大的工作。弓弦乐器表现力极强,奏法丰富,且与键盘乐器从演奏界面的层面来讲亲缘关系也较远,因而本文的结论即是对“弓弦乐器技法移植”这一难题的实践尝试与理论探索。
[Abstract]:As an extremely inclusive modern electronic instrument, electronic organ has different styles, different regions, different types of music different timbre. In addition to playing special electronic organ works, it is also good at integrating electronic music, pop music, symphony music and other different types of music. This article will be discussed from the following four aspects: introduction as an electronic instrument, electronic organ has a variety of sound sources, these sound sources are based on the wind instrument playing form and its similar basic structure as the basis; The author thinks that the similarity of imitation is the key to the success or failure of traditional musical instruments, how to show them more well and how to form an organic whole with their works. This paper discusses how to transplant the string playing techniques of electronic organ. The first chapter discusses the aesthetic thinking of the electronic organ to reproduce the music of the orchestral instrument: as a multi-vocal instrument, the electronic organ often needs to make several kinds of musical instruments at the same time, in this kind of timbre combination, the electronic organ often needs to make several kinds of sound at the same time, in this kind of timbre combination, Its characteristic is to emphasize the whole symphonic art, which includes two aspects: the art of sound effect and the art of performing technical treatment. These two aspects can be said to be regardless of the primary and secondary, to achieve the "timbre" and "acoustic instrument playing techniques" to achieve the unity of sound, the ultimate need to achieve the realization and pursuit of aesthetic goals. Chapter 2 screening criteria for Portable string Music of Electronic Organ: for the timbre of an Electronic Organ, when playing an orchestra composed of a variety of acoustic instruments, The sound color of the acoustic instrument should not only pursue the sound standard of a real acoustic instrument, but also combine the sound color with a certain playing method, rather than make subjective aesthetic judgment on a certain timbre. The third chapter is about the common techniques of string instruments and their realization on electronic organ: when electronic organ is playing orchestral works, its meaning is not to "reproduce" the timbre of orchestra completely. At the same time, the work itself should be reproduced by means of the performance of orchestral music on the electronic organ platform. Therefore, it is very important for electronic organ players to master various musical instrument playing techniques and timbre making techniques. Conclusion the transplantation of string works on the electronic organ playing platform is always recognized and difficult. The expression of the bowstring instrument is very strong, the method of playing is rich, and the relationship with the keyboard instrument is also far from the aspect of the interface, so the conclusion of this paper is a practical attempt and theoretical exploration of the difficult problem of "transplantation of the technique of the bowstring instrument".
【学位授予单位】：中央音乐学院
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J624.2

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