中国钢琴作品“新音响”研究（1980年以来）
发布时间：2019-03-03 18:28
【摘要】：中国钢琴作品创作音响丰富、形式多样,相比传统的中国钢琴作品创作主要注重从旋律性出发,现代作曲家在创作钢琴作品时,则更加注重从音色音响角度出发,不再用我们常见的方式表达他们的意图,而是采用新的织体音响,对音乐音响重新构建。通过复杂多样的触键方式产生无旋律的神秘和声、清脆尖锐的音色等反叛新颖的音响。本文将重点从二十世纪八十年代以来,中国钢琴音乐作品中出现的新的音响形式作为研究对象,主要从四个方面,用我们熟知的西方作曲技法比较研究中国的钢琴作品探讨“新音响”。第一部分对选题的背景、选题意义、研究现状进行阐述;第二部分介绍中国钢琴“新音响”产生的原因,第三部分对现代中国钢琴作品中所出现的有别于传统的创作手法和音响特点进行整理,主要就“新音响”的创作技法、演奏特点进行分类和归纳;第四部分对中国钢琴作品“新音响”对后世的影响。二十世纪八十年代以来,中国钢琴作品中演奏技法和创作方式对中国钢琴丰富的音响素材进行了有效的开发和利用,我们要以理性和科学的眼光看待这种音响的表现方式,树立正确分析评判中国钢琴音响的观念,用发展的眼光看待现代中国钢琴新作品,希望可以在大众中重新建立起一套新的听觉审美标准和声响逻辑关系。
[Abstract]:Chinese piano works are rich in sound and diverse in form. Compared with the traditional Chinese piano works, they pay more attention to the rotation, while the modern composers pay more attention to the sound from the point of view of timbre and sound when they create the piano works. Instead of expressing their intentions in the way we often do, we use the new texture sound to rebuild the music sound. Through complex and diverse touch key ways to produce unmelodic mystical harmony, crisp and sharp tone color and other rebellious new sound. This paper focuses on the new audio forms appearing in Chinese piano music works since the 1980s, mainly from four aspects. A Comparative study of Chinese Piano works with well-known Western composition techniques to explore the New Audio. The first part expounds the background, significance and present situation of the topic selection. The second part introduces the reasons for the emergence of the Chinese piano "new sound", the third part of the modern Chinese piano works appear different from the traditional creative techniques and audio characteristics, mainly on the "new sound" creative techniques. Classification and induction of performance characteristics; The fourth part of the Chinese piano works "new sound" to the impact of future generations. Since the eighties of the 20th century, the Chinese piano works in the playing techniques and creative methods of the Chinese piano rich audio materials have been effectively developed and utilized, we should look at this sound with a rational and scientific perspective. It is hoped that a new set of auditory aesthetic standards and sound logic relations can be re-established among the masses in order to establish the concept of correct analysis and evaluation of Chinese piano sound and to view modern Chinese piano works from the perspective of development.
【学位授予单位】：曲阜师范大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J624.1
本文编号：2433986
[Abstract]:Chinese piano works are rich in sound and diverse in form. Compared with the traditional Chinese piano works, they pay more attention to the rotation, while the modern composers pay more attention to the sound from the point of view of timbre and sound when they create the piano works. Instead of expressing their intentions in the way we often do, we use the new texture sound to rebuild the music sound. Through complex and diverse touch key ways to produce unmelodic mystical harmony, crisp and sharp tone color and other rebellious new sound. This paper focuses on the new audio forms appearing in Chinese piano music works since the 1980s, mainly from four aspects. A Comparative study of Chinese Piano works with well-known Western composition techniques to explore the New Audio. The first part expounds the background, significance and present situation of the topic selection. The second part introduces the reasons for the emergence of the Chinese piano "new sound", the third part of the modern Chinese piano works appear different from the traditional creative techniques and audio characteristics, mainly on the "new sound" creative techniques. Classification and induction of performance characteristics; The fourth part of the Chinese piano works "new sound" to the impact of future generations. Since the eighties of the 20th century, the Chinese piano works in the playing techniques and creative methods of the Chinese piano rich audio materials have been effectively developed and utilized, we should look at this sound with a rational and scientific perspective. It is hoped that a new set of auditory aesthetic standards and sound logic relations can be re-established among the masses in order to establish the concept of correct analysis and evaluation of Chinese piano sound and to view modern Chinese piano works from the perspective of development.
【学位授予单位】：曲阜师范大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J624.1
【参考文献】
相关期刊论文 前8条
1 潘大铭;;20与21世纪之交中国钢琴民族风格的“解构”特征[J];音乐创作;2014年07期
2 郭元;;当代音乐的新音色与音响创造[J];音乐探索;2012年04期
3 申华;;中国钢琴作品在钢琴教学中的作用[J];黄河之声;2012年11期
4 马莹莹;;华人西乐:音乐文化的碰撞与合流——读《中国与西方:一种新音乐的诞生》[J];艺术探索;2011年02期
5 王雁;;现代钢琴作品演奏解析[J];音乐探索;2007年S1期
6 周为民;;20世纪中国钢琴音乐创作的回顾与思考[J];中国音乐;2007年02期
7 汪琴;20世纪钢琴作品中的敲击性音色初探[J];黄钟(中国.武汉音乐学院学报);2005年03期
8 张宪生;21世纪中国音乐的思考与前瞻[J];星海音乐学院学报;2001年01期
相关硕士学位论文 前4条
1 董虹倩;中国钢琴音乐中的德彪西印象主义民族化实践[D];内蒙古大学;2014年
2 刘明清;初探音响分析[D];西南大学;2012年
3 刘思思;21世纪初中国钢琴作品探微[D];中国音乐学院;2011年
4 张路;现代音乐中的新音响及其作品结构力[D];南京艺术学院;2003年
，本文编号：2433986
本文链接：https://www.wllwen.com/wenyilunwen/yinlelunwen/2433986.html
