论中国钢琴作品中的踏板使用

发布时间：2017-12-28 18:11

本文关键词：论中国钢琴作品中的踏板使用　出处：《音乐探索》2013年03期 　论文类型：期刊论文

【摘要】：钢琴演奏家安东·鲁宾斯坦曾说:"踏板可以说是钢琴的灵魂"。因此,要完美地演绎一首钢琴作品,除了要有过硬的钢琴技术和娴熟的技巧外,演奏者还必须巧妙、合理地运用踏板技术。中国的钢琴作品,在创作上大多以古曲和民间器乐曲为素材进行加工改编,以民族五声调式为基础,并结合西洋作曲技法,因此,踏板在实际的应用中有一定的特殊性。然而,大多数已出版的中国钢琴乐谱在踏板的运用方面有详细论述的较少,这无疑在一定程度上影响了钢琴的教学、演奏、传播。如何在中国钢琴作品中合理地使用踏板,成为教学、演奏中不容忽视的问题。文章选取了几首有代表性的中国钢琴作品进行研究阐述,抛砖引玉,以期与钢琴界前辈、同仁们共同商榷。
[Abstract]:Anton Rubinstein, a pianist, once said, "the pedal can be said to be the soul of the piano." Therefore, in order to perfect a piano composition, besides playing excellent piano skills and skillful skills, players must skillfully and reasonably use pedal technology. China piano works, mostly in the creation of classical and folk music for adaptation to material processing, national five tone as the basis, combined with the western composing techniques, therefore, the pedal has certain particularity in practical application. However, most of the published piano music scores in China haven't been discussed in detail in the application of pedal. This undoubtedly affects piano teaching, playing and communication to some extent. How to use the pedal reasonably in Chinese piano works has become a problem that can not be ignored in teaching and playing. In this paper, several representative Chinese piano works are selected and discussed in this paper to discuss with the predecessors and colleagues of the piano world.
【作者单位】：四川音乐学院音乐教育研究中心;
【分类号】：J624.1
【正文快照】： 中国钢琴作品大多以民族五声调式为基础,具有浓郁的民族色彩。在演奏时,要根据中国钢琴作品所表达的内容,运用不同的踏板技法才能更好地诠释作品的音乐内涵,表现民族风格,起到点睛之用。一、模仿中国民族乐器演奏技法以及音响效果中国钢琴作品多以改编曲为主,其中又以改编中

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