在二胡教学演奏中认识演奏技巧与音乐表现的相互关系
发布时间：2018-11-05 20:59
【摘要】：如何在二胡的学习过程与舞台表演实践中,认识演奏技巧与音乐表现的相互关系,是二胡学习中一个挥之不去、涉及到教学、演奏以及艺术修养、文化素养方方面面的重要问题。本文的研究,依据的是随宋飞老师习琴七年的所思所得,其中的认识,都来自于跟随宋飞老师的学习和舞台实践。本文从四个章节分别展开论述。其中第一章主要谈我在经历的三个不同的学习阶段中,对学习中面对的演奏技巧与音乐表现问题进行反思;第二章分别从面对二胡的传统作品、风格性作品、现代创作作品、跨界作品的学习,谈如何处理演奏技巧与音乐表现的问题;第三章分别从本科毕业音乐会和硕士中期、硕士毕业音乐会的准备、完成谈如何面对演奏技巧与音乐表现的问题;第四章主要从提升多种审美、立美能力,丰富音乐的表现力的角度,根据宋飞老师的教学实践和自己在学习中的所思所得,谈以什么样的审美态度和标准去鉴赏和演奏音乐,以及如何在二胡演奏中学会“迁移”,并从其他艺术中、从生活中、从视觉与听觉的转换中学习迁移,获得灵感,将艺术与生命相融,从而让二胡的音乐演奏更加丰富多彩。本文认为,在宋飞老师那里,“技(演奏技巧)”与“音(音乐表现)”或“技(演奏技巧)”与“情(情感表现)”并非是对立的,而是统一的,最终的目的是为了表达“情”。在两者统一的情况下,从某种意义上可以说,“技术即音乐、音乐即技术”。宋飞老师对于演奏技巧的认知是全面而辨证的。在宋飞老师看来,演奏技巧不仅是对乐器的操控,更应当包含认识、理解和表现音乐的内涵,并在演奏中达到音心的和谐。宋飞老师教学的终极目标是,通过对学生演奏技巧与音乐表现内涵多维度、多角度深入浅出的训练、引导与熏染,使学生们最终能够通过音乐,以更高的视角和眼界去看待世界。让学生用音乐的方式去和历史、当代、未来以及自我、他人进行沟通,甚至跨越地域国界、超越宇宙万物。宋飞老师的艺术境界及其追求,又是和中国古典主义美学相通的。在宋飞老师那里,演奏和表现、技和情的统一,本身就是一种生命状态,她提出的讲的“心手相忘”,与中国传统美学精神相契合,正是王国维在《人间词话》中讲的“意境两忘、物我一体”的艺术境界。
[Abstract]:How to understand the relationship between playing skills and musical performance in erhu learning process and stage performance practice is a lingering problem in erhu learning, which involves teaching, playing and artistic accomplishment. Important issues in all aspects of cultural literacy. The research of this paper is based on what Song Fei learned after seven years of playing piano, and his knowledge comes from his study and stage practice. This paper is discussed from four chapters. In the first chapter, I mainly talk about the performance of playing skills and music performance in the three different learning stages. The second chapter discusses how to deal with the problems of playing skills and music performance from the study of the traditional works, stylistic works, modern creative works and cross-border works in the face of Erhu. The third chapter discusses how to face the problems of playing skills and music performance from the undergraduate graduation concert and the intermediate stage of the master's degree and the preparation of the master's graduation concert respectively. The fourth chapter mainly discusses what kind of aesthetic attitude and standards to appreciate and play music according to Song Fei's teaching practice and his own thinking in his study from the angle of promoting various kinds of aesthetics, setting up beauty ability and enriching the expressive power of music. And how to learn "transfer" in erhu playing, and from other art, from life, from the transformation of vision and hearing, to get inspiration, to blend art and life, so as to make erhu music play more colorful. In the view of Song Fei, "skill" and "sound (music performance)" or "technique (playing skill)" and "emotion (emotion expression)" are not opposed to each other, but are unified. The ultimate purpose is to express "love". In a sense, technology is music, music is technology. Song Fei's understanding of playing skills is comprehensive and dialectical. In the view of Song Fei, playing skill is not only the manipulation of musical instruments, but also includes understanding, understanding and expressing the connotation of music, and achieving harmony of sound heart in playing. The ultimate goal of Song Fei's teaching is to guide and influence the students through the training of the students' playing skills and musical performance connotation in many dimensions and from many angles, so that the students can finally pass through the music. Look at the world from a higher perspective and perspective. Let students communicate with history, contemporary, future and self, others, even across regional boundaries, beyond the universe. Song Fei's artistic realm and pursuit are similar to Chinese classicism aesthetics. In Song Fei's case, the unity of playing and performance, skill and emotion is itself a state of life. What she put forward as "forgetting each other" coincides with the spirit of traditional Chinese aesthetics. It is Wang Guowei's artistic realm of "forgetting the artistic conception and integrating the matter and me" in the words of ci on earth.
【学位授予单位】：中国音乐学院
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J632.21-4
本文编号：2313443
[Abstract]:How to understand the relationship between playing skills and musical performance in erhu learning process and stage performance practice is a lingering problem in erhu learning, which involves teaching, playing and artistic accomplishment. Important issues in all aspects of cultural literacy. The research of this paper is based on what Song Fei learned after seven years of playing piano, and his knowledge comes from his study and stage practice. This paper is discussed from four chapters. In the first chapter, I mainly talk about the performance of playing skills and music performance in the three different learning stages. The second chapter discusses how to deal with the problems of playing skills and music performance from the study of the traditional works, stylistic works, modern creative works and cross-border works in the face of Erhu. The third chapter discusses how to face the problems of playing skills and music performance from the undergraduate graduation concert and the intermediate stage of the master's degree and the preparation of the master's graduation concert respectively. The fourth chapter mainly discusses what kind of aesthetic attitude and standards to appreciate and play music according to Song Fei's teaching practice and his own thinking in his study from the angle of promoting various kinds of aesthetics, setting up beauty ability and enriching the expressive power of music. And how to learn "transfer" in erhu playing, and from other art, from life, from the transformation of vision and hearing, to get inspiration, to blend art and life, so as to make erhu music play more colorful. In the view of Song Fei, "skill" and "sound (music performance)" or "technique (playing skill)" and "emotion (emotion expression)" are not opposed to each other, but are unified. The ultimate purpose is to express "love". In a sense, technology is music, music is technology. Song Fei's understanding of playing skills is comprehensive and dialectical. In the view of Song Fei, playing skill is not only the manipulation of musical instruments, but also includes understanding, understanding and expressing the connotation of music, and achieving harmony of sound heart in playing. The ultimate goal of Song Fei's teaching is to guide and influence the students through the training of the students' playing skills and musical performance connotation in many dimensions and from many angles, so that the students can finally pass through the music. Look at the world from a higher perspective and perspective. Let students communicate with history, contemporary, future and self, others, even across regional boundaries, beyond the universe. Song Fei's artistic realm and pursuit are similar to Chinese classicism aesthetics. In Song Fei's case, the unity of playing and performance, skill and emotion is itself a state of life. What she put forward as "forgetting each other" coincides with the spirit of traditional Chinese aesthetics. It is Wang Guowei's artistic realm of "forgetting the artistic conception and integrating the matter and me" in the words of ci on earth.
【学位授予单位】：中国音乐学院
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J632.21-4
【参考文献】
相关期刊论文 前3条
1 宋飞;;在“中国弓弦艺术节”学术研讨会上的四次发言[J];中国音乐;2013年03期
2 宋飞;;二胡演奏中的二度创作[J];黄钟(中国.武汉音乐学院学报);2011年04期
3 宋国生;;试论二胡演奏中的体态动律和气息运用[J];音乐学习与研究;1989年02期
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