笛乐演奏家简广易、俞逊发、李大同舞台表演研究

发布时间：2018-05-15 20:35

本文选题：笛乐 + 舞台表演　；参考：《扬州大学》2017年硕士论文

【摘要】：舞台表演是笛乐演奏立美的重要环节,而我国地域辽阔、民族众多、笛乐风格迥异,各具特色的笛乐演奏家分布各地,他们共同构成了我国笛乐文化多样一体的风格样态。本文选取三位同时代对本地乃至全国笛乐风格、流派,演奏审美等影响深远的,具有代表性演奏风格的演奏家进行个案分析,找出共同性与差异性,对其内在艺术规律与音乐表象特征梳理、归纳、总结,并采访相关笛乐名家及其朋友,以此印证、支持文章观点,期望对丰富笛乐特色的多样,追求舞台演奏形式与审美理念融涵一体,起到一定的认识与参照作用。笛乐,以笛为器,载以人文意象之乐音体系。本文选取三位舞台表演经验丰富,在笛界享有盛誉的同时代演奏家:简广易先生(已故)、俞逊发先生(已故)及李大同老师。研究他们在同时代的笛乐舞台上,各具特色的笛乐作品、表演样式、演奏风格、技术技巧、审美观念等,其目的是通过典型的、具有差别性的演奏家的探究,期待梳理出此一时期中国笛子艺术具有典型性的代表、特质风貌、基本路径等。而对现今仍然活跃在舞台的李大同先生,我们期待在他未来的演奏生涯继续再创辉煌。本文先从音乐舞台表演、舞台表演的本质,舞台表演的本体特征与立美原则,以及器乐与舞台表演原理方面展开,为个案研究做理论铺垫。后引进音乐表演美学观点、方法、手段、内容,及心理、情感、音响、临场等等规律性的标准,以及以此为参照,通过个案进行笛子舞台表演特色差异性与审美追求共同性的探究;通过代表性演奏家的分析,从个体到群体,从特殊到一般,从点到面,从局部到区域,从演奏家个人特点到民族文化整体特色的规律总结;应用表演心理学、音乐美学、音乐表演美学等多个学科领域的理论,对笛子舞台表演个案的实践进行分析、认识;同时,对三位演奏家的舞台表演进行比较研究,把握规律、感受整体。音乐舞台表演是一种具有创造性、时空性和不可逆性的艺术表演形式。绪论后的第二章首先回答了何为舞台表演、笛子与舞台表演;其次,从多角度描述了笛子与舞台的关系、笛乐舞台表演发展史、二度创作和作者、演奏者、欣赏者表演的三维关系;第三章以三位演奏家为例,分析其笛子舞台表演的共性和特殊性规律。写作过程中,对李大同老师进行了专访,之后,还采访了蔡敬民教授和方光耀教授;再次,分别对三位研究对象的作品、技艺、审美观念,以及在音乐表演美学理论指导下,对其笛乐舞台的表演规律、艺术特色进行研究、比较;第四章三位演奏家的舞台表演进行差异性和共同性的总结;第五章,从舞台表演前的准备、笛子在舞表演进行时、及结束后平时训练达到的舞台最佳状态,结合自身笛乐学习、研究与实践,总结心得及提出了一些建议。写作中,通过采访,广泛收集及研读了有关音乐表演美学、笛子舞台表演、个案分析等相关的书籍、论文与文稿等文献。初步梳理了三位笛乐演奏家的艺术成就,运用音乐表演美学观点总结从局部到整体,特殊到一般的规律,并通过音视频、照片及调查报告,找出表演风格特色构成的成因。期望在笛乐舞台表演研究方面获得新的角度与认识,为今后自己与他人笛子表演提供一定的理论参照;在教学方面,提供一些可行、具体的训练方法;在美学方面,与笛乐舞台表演结合,提高自己和听众及笛子表演者的审美素养。
[Abstract]:Stage performance is an important part of flute music playing the beauty of the United States. China has a vast territory, a large number of nationalities and different styles of flute music, and the flute music players are distributed all over the country. They constitute the style of the cultural diversity of the flute music in our country. This article selects three times for the local and even the National Flute style, school, and performance aesthetic. The far-reaching, representative performance style of the performers to carry out case analysis, find the commonality and difference, to comb, sum up, summarize, and interview the related flute music masters and their friends, in order to support the views of the article, and to seek the diversity of the rich flute characteristics and the pursuit of the stage performance form. Combining with the aesthetic concept, it plays a certain role of understanding and reference. Flute music, with flute as an instrument, is carried with the musical sound system of the humanistic image. This article selects three stage performers who have rich experience in the stage performance and enjoy a great reputation in the flute field: Mr. Jane Guang (late), Mr. Yu Xunfa (late) and Li Datong teachers. On the flute stage, the flute music works, performance styles, performance styles, technical skills and aesthetic ideas are the aim of this period. The purpose is to sort out the typical representative, feature, basic path, etc. of the Chinese flute art in this period. Mr. Li Datong, we expect to continue to create a brilliant future in his future performance. This article begins with the stage performance of the music stage, the essence of the stage performance, the noumenon and the principles of the stage performance, the instrumental music and the stage performance principles, and make a theoretical padding for the case study. Capacity, and the standard of psychological, emotional, sound, and on the field, and so on, and taking this as a reference, to explore the common characteristics of the characteristics difference between the flute stage performance and the aesthetic pursuit through the case; through the analysis of the representative performers, from the individual to the group, from the special to the general, from the point to face, from the local to the region, from the personal characteristics of the performers to the individual. The general characteristic of the national culture is summed up, and the practice of the performance psychology, music aesthetics and music performance aesthetics are applied to analyze and understand the practice of the flute stage performance. At the same time, the stage performance of the three performers is compared, the law is grasped and the whole is felt. The stage performance of the music is a kind of Creative, spatiotemporal, and irreversible artistic forms. The second chapter of the introduction first answers the stage performance, the flute and the stage performance; secondly, describes the relationship between the flute and the stage, the history of the flute stage performance, the two degree creation and the author, the performance of the player and the audience, and the third chapter of the three performance. In the process of writing, he interviewed Li Datong, and then interviewed Professor Cai Jingmin and Professor Fang Guangyao in the process of writing. Again, the works, skills, aesthetic ideas of the three research subjects, and the musical performance aesthetics theory, and the flute stage under the guidance of the music performance aesthetics theory respectively. The law of performance, the artistic characteristics of the study, comparison; the fourth chapter three players stage performance of the difference and the common sameness; the fifth chapter, the preparation before the stage performance, the flute in the dance performance, and after the end of the stage to achieve the best stage of the stage, combined with their own flute learning, research and practice, summary and mention Some suggestions are made. In writing, through interviews, a wide collection and study of music performance aesthetics, flute stage performance, case analysis and other related books, papers and manuscripts have been collected. The artistic achievements of the three Piper players are preliminarily combed, and the local to the general, special and general rules are summed up by the use of musical performance aesthetics. And through audio and video, photos and investigation reports, find out the causes of the characteristics of the performance style, expect to get a new angle and understanding in the study of the flute stage performance, provide some theoretical reference for the future of his own flute performance, and provide some practical and specific training methods in teaching; in aesthetics, and flute and dance. The combination of stage performance enhances the aesthetic quality of ourselves and listeners and flute performers.

【学位授予单位】：扬州大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J632.11

【参考文献】