王建民《第三二胡狂想曲》的钢琴伴奏研究

发布时间：2018-05-24 18:29

本文选题：王建民 + 第三二胡狂想曲　；参考：《山东艺术学院》2017年硕士论文

【摘要】：二胡,作为一件民族拉弦乐器,音色柔和圆润,刚柔多变,表现力极强。钢琴,作为一件纯正的键盘乐器,音域宽广,和声丰富,音色多变,音量震撼人心。它不仅仅是一件独奏乐器,还是应用最广泛的伴奏乐器。二胡与钢琴的结合,一中一西,传统的拉弦乐器和西方键盘乐器,看似不协和,实际上随着作曲家的不断开拓与创新,演奏者高超的技艺,近年来,有大量的钢琴伴奏版本的二胡作品涌现出来,对于钢琴伴奏者来说,无论是技术技巧方面还是音乐表现的处理上,都需要做充分的准备。在西方比较完善的和声理论和大小调体系下,钢琴作为伴奏乐器有着极强的表现力,随着二胡演奏技巧的不断创新与发展,作曲家王建民将民族民间音乐与当代作曲技法相结合,把二胡这件中高音域的单声部拉弦乐器加上钢琴伴奏协调合作,创作了大量的优秀作品。本文将在《第三二胡狂想曲》作品完整演绎的前提下,以乐曲与钢琴伴奏的配合为切入点进行全面的分析研究,从作品钢琴伴奏部分的写作手法及演奏要求入手来详细诠释这首作品,第一章主要介绍王建民的生平与创作,以及这首作品的创作背景,第二章主要从曲式结构、伴奏织体这两个方面详细解读《三狂》的创作特征,第三章结合钢琴演奏要求,从演奏方面重点阐述钢琴伴奏部分不同乐段音色的处理、节奏节拍的把握,速度力度的掌控,第四章则宏观的对钢琴与二胡的合作进行阐述,从相互的聆听、气息协调、音响平衡方面讲述。结语的部分笔者在总结、梳理本论文的基础上提出自己的观点。
[Abstract]:Erhu, as a national string instrument, soft and round tone, flexible and changeable, strong performance. Piano, as a pure keyboard instrument, has a wide range, rich harmony, changeable timbre and impressive volume. It is not only a solo instrument, but also the most widely used accompaniment instrument. The combination of erhu and piano, one Chinese and one west, traditional string instruments and Western keyboard instruments, seem to be discordant. In fact, with the continuous development and innovation of composers and the superb skills of the performers, in recent years, There are a large number of piano accompaniment versions of Erhu works emerge, for piano accompaniment, both in terms of technical skills and the handling of music performance, need to be fully prepared. Under the relatively perfect harmony theory and major minor system in the West, piano as an accompaniment instrument has a strong expressive power. With the continuous innovation and development of erhu playing skills, Composer Wang Jianmin combines folk music with contemporary composing techniques, and combines Erhu, a monophonic string instrument with piano accompaniment, to create a large number of excellent works. On the premise of the complete deduction of the works of the third Rhapsody, this paper will make a comprehensive analysis and study on the cooperation between the music and the piano accompaniment. The first chapter mainly introduces the life and creation of Wang Jianmin, and the background of this work. The second chapter mainly introduces the structure of the composition. These two aspects of accompaniment texture explain in detail the creative characteristics of Sanmang. The third chapter, in combination with the requirements of piano performance, focuses on the processing of different timbre of piano accompaniment, the grasp of rhythm and rhythm, and the control of speed. The fourth chapter expounds the cooperation between piano and erhu from the aspects of mutual listening, breath coordination and sound balance. The conclusion part of the author in summary, combing the basis of this paper put forward their own views.
【学位授予单位】：山东艺术学院
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J632.21;J624.1

【参考文献】