探究高师钢琴即兴伴奏中和声的应用
发布时间：2018-10-13 12:27
【摘要】：钢琴即兴伴奏是伴奏者根据一定的乐曲旋律,在事先没有经过缜密思考和充分准备的情况下,比较快捷地把旋律所表达的意境、情感,通过键盘烘托出来的一种综合性艺术。高等师范院校音乐学专业培养的学生,大多是以后的中小学音乐教师,在将来的课堂教学中,好的即兴伴奏能够帮助学生在歌唱时准确地把握歌曲的节奏、速度、力度、情绪等,给歌唱者营造出恰当的状态与氛围,以引导歌唱者进入歌曲的情绪、烘托音乐气氛,从而增强作品的表现力和感染力；而对于不会弹或弹不好即兴伴奏的老师来说,学生上课时只是单调的旋律伴奏或杂乱无章的音的组合,渐渐地学生们会失去对歌唱的兴趣,甚至是对音乐课的兴趣,这对我们的音乐素质教育显然是非常不利的。因此,钢琴即兴伴奏的好坏,已经成为了衡量教师业务水平和工作能力的重要尺度之一。尤其是在当今日益严峻的就业背景下,这项技术已经成为了高师毕业生增强就业的核心竞争力。如何提高高师学生的钢琴即兴伴奏能力,也已成为培养面向21世纪应用型人才的重要研究课题。 在钢琴即兴伴奏中,首先要涉及的就是和声应用的问题。和声的应用包括横向(和声语汇、和声节奏、和声布局)与纵向(和声织体)两个方面,这也正是钢琴即兴伴奏中最重要的两个方面。从某种意义上来说,钢琴即兴伴奏学习的过程就是提高和声应用能力的过程。 随着音乐教育事业的发展,钢琴即兴伴奏也越来越受到重视,在钢琴即兴伴奏的理论方面也有了很大的研究成果。笔者通过查阅这方面的文献和论文,发现由于研究的角度和侧重点不同,针对高师钢琴即兴伴奏的和声应用方面还存在着一些问题和不足。首先,在和弦的运用方面,有些教材的和声语汇过于复杂化,超出了高师大多学生的认知能力,在歌曲的实际运用中也达不到运用的效果,很多教材中练习谱例也选择不当,大量纯技术单调的和弦连接,枯燥无味,损害了学生的弹奏兴趣。教材中对民族调式歌曲和现代通俗歌曲和弦编配理论也不完善。第二,在论述配弹的整体设计中,针对的大多是伴奏织体,对和声布局的整体设计与应用方法,这方面的论述也不完善；第三,就是钢琴即兴伴奏与其它学科融合的理论也不全面,几十年来形成的一套传统的教学模式,使高师的和声教学陷入了自我封闭的本本主义之中。缺乏与和声课、钢琴课、视唱课等相关课程的结合。不能充分发挥多学科相互渗透教学的积极作用。这些问题和不足之处,也正是学生们在歌曲配弹中存在的问题。 鉴于上述问题及笔者对即兴伴奏的热爱与追求,加上我国在即兴伴奏方面的研究与国外相比还相差甚远,有关即兴伴奏的期刊与其它音乐理论相比也是捉襟见肘。笔者选择即兴伴奏中和声的应用进行习文,本文将从和声运用的横向方面：和声语汇、和声的布局与和声节奏的整体设计,以及钢琴伴奏与相关学科的融合三方面来阐述钢琴伴奏中和声的应用。以丰富钢琴伴奏的理论,促进钢琴即兴伴奏学科的发展。 本文第一章绪论,主要介绍钢琴即兴伴奏的定义及意义,来说明这门学科的重要性；另一方面介绍和声在钢琴即兴伴奏中的作用,以及高师学生在歌曲配弹中存在的三个问题。 第二章是针对所提出的第一个问题,主要对即兴伴奏中三和弦、七和弦、变和弦及非三度叠置和弦的主要用法,进行梳理和归纳,并结合歌曲谱例,来介绍伴奏中常用的和声语汇 第三章针对第二个问题,主要从歌曲的体裁、调式调性、曲式结构三方面,并结合相关实例,来论述影响钢琴即兴伴奏和声布局的因素。 第四章针对第三个问题,从钢琴即兴伴奏教学与和声教学、钢琴教学及视唱教学三门学科的融合,来论述有效提高钢琴即兴伴奏和声应用的途径。
[Abstract]:The piano impromptu accompaniment is a kind of comprehensive art that the accompaniment of the accompaniment is based on the melody of a certain melody, the artistic conception and the emotion expressed by the melody are quickly and quickly expressed through the keyboard without being carefully thought and fully prepared in advance. In the future classroom teaching, good impromptu accompaniment can help students accurately grasp the rhythm, speed, strength and mood of the song during singing. creating an appropriate state and atmosphere for the singer to guide the singer to enter the mood of the song, baking the music atmosphere, thereby enhancing the expression and the appeal of the work; and for the teacher who does not play or play the impromptu accompaniment, The students will lose their interest in singing and even interest in music lessons when they are in class. It is obviously very bad for our music quality education. Therefore, the impromptu accompaniment of piano has become one of the important scales to measure the professional level and ability of teachers. Especially in today's increasingly severe employment background, this technology has become the core competitive force of high school graduates to enhance employment. How to improve the piano improvisation ability of high school students has become an important research topic for cultivating application-oriented talents in the 21st century. In the piano impromptu accompaniment, the first thing to deal with is the sound application This is the most important two of the piano impromptu accompaniment, including horizontal (and acoustic vocabulary, harmony rhythm, and acoustic layout) and longitudinal (and acoustic) aspects. In a sense, the process of piano impromptu accompaniment learning is to improve and sound application ability With the development of music education, the impromptu accompaniment of piano has been paid more and more attention. Through consulting the literature and papers in this field, the author finds out that because of the different angle and focus of the research, there are still some problems in the acoustic application of the piano improvisation of the high teacher. There are some problems and deficiencies. First, in the aspect of the use of chords, some teaching materials and vocabularies are too complicated, beyond the cognitive ability of most students in the high divisions. In the actual application of the songs, they can not reach the effect of application. In many teaching materials, the practice spectrum is also selected improperly, and a large number of pure techniques are used. Monotonous chords connected, dull, and damaged Students' interest in playing. Chinese style songs and modern popular songs and chords in the teaching materials The theory is not perfect. Secondly, in discussing the whole design of the air distribution bomb, it is not perfect for the whole design and application of the accompaniment weave, the pair and the sound layout, and the third is the piano improvisation accompaniment and the other subjects. The theory is not comprehensive, and a set of traditional teaching mode has been formed for several decades, so that the high teacher's and sound teaching fall into self-closing. Of this doctrine. Lack of harmony and harmony, piano lessons, singing lessons, etc. The combination of related courses can't give full play to the mutual penetration of multi-disciplines The active role of teaching. These problems and deficiencies are also the students playing with songs In view of the above problems and the love and pursuit of impromptu accompaniment, combined with the study of impromptu accompaniment in our country, there is still a far cry from abroad, the periodical and other sounds about improvisation accompaniment. In comparison with the music theory, the author chooses the improvisation accompaniment and the application of the sound to study, this paper will learn from the horizontal aspects of the use of harmony: harmony vocabulary, the layout of harmony and the overall design of harmony rhythm, as well as the integration of piano accompaniment and related subject. The application of piano accompaniment. To enrich the theory of piano accompaniment, promote the piano accompaniment. The first chapter introduces the definition and significance of piano impromptu accompaniment, and explains the importance of this subject; on the other hand, the role of piano impromptu accompaniment and the high teacher are introduced. The second chapter is aimed at the first question put forward, mainly to the three chords, seven chords, the variable chord and the non-random overlapping chord in the improvisation accompaniment. To use, comb and summarize, and According to the song spectrum example, the third chapter of the common and acoustic vocabulary in accompaniment is introduced to solve the second problem, mainly from the genre of the song, the mode tonality, the curved structure, and the combination The fourth chapter aims at the third question, from the piano impromptu accompaniment teaching and the sound teaching, the piano teaching and the singing teaching.
【学位授予单位】：陕西师范大学
【学位级别】：硕士
【学位授予年份】：2011
【分类号】：J624.1
本文编号：2268625
[Abstract]:The piano impromptu accompaniment is a kind of comprehensive art that the accompaniment of the accompaniment is based on the melody of a certain melody, the artistic conception and the emotion expressed by the melody are quickly and quickly expressed through the keyboard without being carefully thought and fully prepared in advance. In the future classroom teaching, good impromptu accompaniment can help students accurately grasp the rhythm, speed, strength and mood of the song during singing. creating an appropriate state and atmosphere for the singer to guide the singer to enter the mood of the song, baking the music atmosphere, thereby enhancing the expression and the appeal of the work; and for the teacher who does not play or play the impromptu accompaniment, The students will lose their interest in singing and even interest in music lessons when they are in class. It is obviously very bad for our music quality education. Therefore, the impromptu accompaniment of piano has become one of the important scales to measure the professional level and ability of teachers. Especially in today's increasingly severe employment background, this technology has become the core competitive force of high school graduates to enhance employment. How to improve the piano improvisation ability of high school students has become an important research topic for cultivating application-oriented talents in the 21st century. In the piano impromptu accompaniment, the first thing to deal with is the sound application This is the most important two of the piano impromptu accompaniment, including horizontal (and acoustic vocabulary, harmony rhythm, and acoustic layout) and longitudinal (and acoustic) aspects. In a sense, the process of piano impromptu accompaniment learning is to improve and sound application ability With the development of music education, the impromptu accompaniment of piano has been paid more and more attention. Through consulting the literature and papers in this field, the author finds out that because of the different angle and focus of the research, there are still some problems in the acoustic application of the piano improvisation of the high teacher. There are some problems and deficiencies. First, in the aspect of the use of chords, some teaching materials and vocabularies are too complicated, beyond the cognitive ability of most students in the high divisions. In the actual application of the songs, they can not reach the effect of application. In many teaching materials, the practice spectrum is also selected improperly, and a large number of pure techniques are used. Monotonous chords connected, dull, and damaged Students' interest in playing. Chinese style songs and modern popular songs and chords in the teaching materials The theory is not perfect. Secondly, in discussing the whole design of the air distribution bomb, it is not perfect for the whole design and application of the accompaniment weave, the pair and the sound layout, and the third is the piano improvisation accompaniment and the other subjects. The theory is not comprehensive, and a set of traditional teaching mode has been formed for several decades, so that the high teacher's and sound teaching fall into self-closing. Of this doctrine. Lack of harmony and harmony, piano lessons, singing lessons, etc. The combination of related courses can't give full play to the mutual penetration of multi-disciplines The active role of teaching. These problems and deficiencies are also the students playing with songs In view of the above problems and the love and pursuit of impromptu accompaniment, combined with the study of impromptu accompaniment in our country, there is still a far cry from abroad, the periodical and other sounds about improvisation accompaniment. In comparison with the music theory, the author chooses the improvisation accompaniment and the application of the sound to study, this paper will learn from the horizontal aspects of the use of harmony: harmony vocabulary, the layout of harmony and the overall design of harmony rhythm, as well as the integration of piano accompaniment and related subject. The application of piano accompaniment. To enrich the theory of piano accompaniment, promote the piano accompaniment. The first chapter introduces the definition and significance of piano impromptu accompaniment, and explains the importance of this subject; on the other hand, the role of piano impromptu accompaniment and the high teacher are introduced. The second chapter is aimed at the first question put forward, mainly to the three chords, seven chords, the variable chord and the non-random overlapping chord in the improvisation accompaniment. To use, comb and summarize, and According to the song spectrum example, the third chapter of the common and acoustic vocabulary in accompaniment is introduced to solve the second problem, mainly from the genre of the song, the mode tonality, the curved structure, and the combination The fourth chapter aims at the third question, from the piano impromptu accompaniment teaching and the sound teaching, the piano teaching and the singing teaching.
【学位授予单位】：陕西师范大学
【学位级别】：硕士
【学位授予年份】：2011
【分类号】：J624.1
【引证文献】
相关期刊论文 前1条
1 刘婉娴;;中职学前教育专业钢琴即兴伴奏课的教学思考[J];北方音乐;2013年09期
相关硕士学位论文 前1条
1 陈姝璇;《钢琴即兴伴奏模式化训练教程》研究[D];湖南师范大学;2012年
，本文编号：2268625
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