论波泰西尼《第二低音提琴协奏曲》的文本、分析与演绎
发布时间：2018-09-07 14:35
【摘要】：波泰西尼对低音提琴的独奏发展有着不可忽视的贡献,他提出的"波泰西尼持弓方式",使低音提琴在演奏上更贴近大提琴的音色,他使用的三根弦乐器,改变了低音提琴以往的形象,他在乐器定弦上采用两种不同的方式,以配合不同的演奏环境。协奏曲分为三个乐章,曲式结构较为即兴自由。第一乐章为奏鸣曲式,其再现部有所缩减;第二乐章为单三部曲式,篇幅短小但变化多端;第三乐章为奏鸣曲式,通篇使用拿波里舞曲的节奏型,充满了浓厚的意大利特色。协奏曲的原始版本分别为钢琴伴奏的b小调和弦乐队伴奏的c小调,从调性的设定可以推断出一些演奏方面的相关信息,例如音量的改变、定弦的升高、乐器本身变化及作品难度系数等。这部协奏曲主要出版了五个版本,分析版本可以得出,定弦的要求逐渐被强调,更加重视音响关系,在伴奏的编排中,引子部分的逐渐缩减符合了学院派教学的需要。谱面上的演奏标记也逐渐详细,提供了很好的教学材料。笔者着重比对了其中两个版本,从多个角度比对具体差异,并分析出编者要求的演奏效果以比较出具体的演奏差异。再从演奏实践出发,根据第二章的理论分析,依从作曲家的演奏风格,对具体的乐句得出了演奏感悟。
[Abstract]:Botessini has made a great contribution to the development of the bass solo. He proposed the "Botessini way of holding the bow", which made the bass more close to the sound of the cello, and the three stringed instruments he used. Changing the image of the bass, he used two different ways to set the strings to suit different playing environments. Concerto is divided into three movements, the composition of the structure is more impromptu freedom. The first movement is sonata form, its reproduction part is reduced; the second movement is single trilogy form, the space is short but changeable; the third movement is sonata form, the whole part uses the rhythm type of Napoli dance, full of the strong Italian characteristic. The original version of the concerto is the piano accompaniment of the b minor chord in c minor. From the tone setting, we can infer some information about the performance, such as the change of the volume, the increase of the fixed string, The instrument itself changes and works difficulty coefficient and so on. The concerto is mainly published in five editions. The analysis shows that the requirement of string setting is emphasized gradually, and more attention is paid to the sound relationship. In the arrangement of accompaniment, the gradual reduction of the introduction meets the needs of academic teaching. The performance marks on the spectrum are also gradually detailed, providing very good teaching materials. The author compares the two versions, compares the specific differences from several angles, and analyzes the performance effect required by the editor to compare the specific performance differences. According to the theory analysis of the second chapter, according to the composer's playing style, the author obtains the feeling of the specific music sentence.
【学位授予单位】：上海音乐学院
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J622.4
本文编号：2228546
[Abstract]:Botessini has made a great contribution to the development of the bass solo. He proposed the "Botessini way of holding the bow", which made the bass more close to the sound of the cello, and the three stringed instruments he used. Changing the image of the bass, he used two different ways to set the strings to suit different playing environments. Concerto is divided into three movements, the composition of the structure is more impromptu freedom. The first movement is sonata form, its reproduction part is reduced; the second movement is single trilogy form, the space is short but changeable; the third movement is sonata form, the whole part uses the rhythm type of Napoli dance, full of the strong Italian characteristic. The original version of the concerto is the piano accompaniment of the b minor chord in c minor. From the tone setting, we can infer some information about the performance, such as the change of the volume, the increase of the fixed string, The instrument itself changes and works difficulty coefficient and so on. The concerto is mainly published in five editions. The analysis shows that the requirement of string setting is emphasized gradually, and more attention is paid to the sound relationship. In the arrangement of accompaniment, the gradual reduction of the introduction meets the needs of academic teaching. The performance marks on the spectrum are also gradually detailed, providing very good teaching materials. The author compares the two versions, compares the specific differences from several angles, and analyzes the performance effect required by the editor to compare the specific performance differences. According to the theory analysis of the second chapter, according to the composer's playing style, the author obtains the feeling of the specific music sentence.
【学位授予单位】：上海音乐学院
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J622.4
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1 侯晓云;论波泰西尼《第二低音提琴协奏曲》的文本、分析与演绎[D];上海音乐学院;2017年
，本文编号：2228546
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