初探“键盘演奏”在戏曲多声部教学中的意义和作用

The significance and role of "playing keyboard" in the drama in the teaching of polyphony

摘要:(摘要内容经过系统自动伪原创处理以避免复制,下载原文正常,内容请直接查看目录。)

精确些来讲,戏曲艺术从其萌芽到闹热,阅历了漫长弯曲的百年汗青。从史乘中有明白记录的从军戏《踏摇娘》,到当今比拟经典的《智取威虎山》、《红灯记》等经典样板戏,戏曲艺术所走的途径曾经是“几度风雨几度年龄”了。在这些曾经成为汗青的岁月里,戏曲音乐迎走了它最为光辉的明清时代,也直面着属于它本身的近古代瓶颈期。时至昔日,我们关于这个曾经成为平易近族文明珍宝的事物,仿佛还剖析和研讨的不敷过细和完全,它的性命力,在古代西洋作曲技法漫山遍野的明天,仿佛还熄灭的不敷充足,在如许的一种气氛中,我们作为跟随着时期措施的一代人,仿佛更有责任,为它的进一步熄灭和发光发烧发明一种能够。这不只仅是关于简略的戏曲而言,更深一层,也是我们,关于本身的平易近族文明的一种掩护和发扬,是值得我们去为之尽力的。所以也正如上文中所提到的,那些包抄在传统戏曲音乐四周的西洋作曲技法,恰是一种关于戏曲来讲很新鲜奇特的思虑办法,它本身所具有的诸多特色,好比多声部思想,好比键盘织体,好比交响乐概念、好比和声复调,都是关于传统戏曲艺术来讲值得进修和自创的处所,古代戏曲艺术的传承和发扬,完整离开了这类适应时期的作曲技法是步履维艰的。而本文也努力于,将戏曲音乐的传统思想与西洋作曲技法中的键盘思想嫁接于一处,以期从这些测验考试中找到戏曲音乐改革和提高的原动力。所以,本文的中间,是容身于戏曲的,关于其他所强调的多声部键盘思想和教授教养测验考试,仅仅是一种可行并建议推行的办法论,相对不是为了某一件乐器的成长而强调。或许也只要论点精确的容身于此,能力加倍贴心的为戏曲成长添一添砖,加一加瓦。

Abstract:

Precisely speaking, opera art from the beginning to Naore, long curved hundred years history. From history have understand record army play "embark Yao Niang", to today's classic "Weihushan reversals", "red lantern" classic model operas, drama art the walk way was "several storms several age". In these years has become history, opera music Ying walked it most glorious era of the Ming and Qing Dynasties, it faces nearly belongs to its own ancient bottleneck. Today, we on this has become the ethnic cultural treasures of things, as if also analysis and research is not enough meticulous and completely, its life force, in the ancient western composing techniques all over the mountains and plains tomorrow, as if also extinguishes the not enough sufficient, in such an atmosphere, we, as with with the period measures for a generation, as if more responsibility, for its further out and luminous fever invented a way to. This is not only a simple opera, a deeper level, we also develop a cover, and people about their own ethnic culture, is worth to try. So also as above mentioned, the outflanking in traditional Chinese opera music around the western composing techniques, is exactly a on the opera is novel and unique thinking way, it itself has many characteristics, like the idea of multi voice, like keyboard texture, like make loud music concept, like the polyphonic harmony are about the place of the traditional opera art in terms of worth learning and self created, inheriting and carrying forward the ancient art of opera, complete left the adaptation period of composing techniques is struggling. This paper also dedicated to the traditional thought and Western opera, the composer of the music keyboard grafting techniques in thought in one place, in order to find the motive power of opera music reform and improvement from these tests. So, in the middle, shelter from the opera, on the other emphasizes the polyphonic keyboard thought and teaching test, just a feasible and suggestions on implementation of the methodology, the relative is not to grow a piece of musical instruments and emphasized. Perhaps as long as the argument for this ability to accurately, more close to opera growing Tim Tim brick, plus a gaoua.

目录:

摘要3-4
Abstract4
绪论7-10
    一、课题的研究目的和意义7
    二、课题的研究现状7-8
    三、课题的研究方法与创新8-10
第一章 概述10-15
    第一节 戏曲音乐的发展变化及其衍生出的多种戏曲元素走向12-13
    第二节 键盘类器乐演奏的发展特点,及其在戏曲发展中的作用13-14
    第三节 戏曲音乐融合于键盘类乐器演奏所引发的思维模式及思考14-15
第二章 戏曲音乐的键盘化尝试与教学分析(以倪洪进京剧曲牌《钢琴四首练习曲》为例)15-33
    第一节 旋律16-24
        1、练习曲一16-19
        2、练习曲二19-20
        3、练习曲三20-21
        4、练习曲四21-24
    第二节 曲式和声24-32
        1、练习曲一24-26
        2、练习曲二26-28
        3、练习曲三28-29
        4、练习曲四29-32
    第三节 复调32-33
第三章 键盘教学在戏曲剧目中的表现与应用(以样板戏《红灯记》钢琴曲谱对照交响乐总谱为例)33-59
    第一节 戏曲音乐中的旋律在键盘乐器中的表述方式33-51
        1、主要人物唱段中的键盘旋律34-44
        2、引子、过门、间奏中的键盘旋律44-51
    第二节 戏曲音乐中的织体、和声、复调在键盘乐器中的表述方式51-53
    第三节 引申到交响乐队编配中——戏曲音乐键盘演奏对乐队编配所起到的影响作用53-59
第四章 键盘演奏对于戏曲多声部思维、教学内容的启发——结合“新伴奏模式”项目谈感想59-61
结论61-62
附录:参考文献62-65
    1、期刊论文62-63
    2、学位论文63
    3、学术专著63-65
致谢65