二胡曲《空山鸟语》演奏版本分析

发布时间：2018-06-05 03:46

本文选题：刘天华 + 二胡曲　；参考：《武汉音乐学院》2009年硕士论文

【摘要】： 二胡曲《空山鸟语》是刘天华先生所创作的10首二胡独奏曲其中之一,初稿创作于1918年,定稿于1928年,是一首描绘空山幽谷中百鸟鸣转的写意作品。其胞兄刘半农先生曾以“空山不见人,但闻鸟语声”的题词来形容这首乐曲的美妙意境。在刘天华先生的10首二胡作品中,《空山鸟语》这首作品是有着十分重要地位的,它反映出“中国文人酷爱山水自然,把人与人的感情融化在山水景物之中,追求的是情在景中,景在情中,寓义于情义愈至,寓情于景情愈深。并且对于自然的描写不是简单地模拟,而是万物进入心中,化为胸中的意象,已不同于自然的原始形态,即所谓‘外师造化,中得心源’”(见胡志平:《胡琴曲中的新文人音乐——刘天华二胡曲审美特色初探》,《黄钟》,1992年第4期)。本文主要通过对刘天华、蒋风之、张韶、闵慧芬、宋飞五位演奏家所演奏的《空山鸟语》音响资料的音高、音数、速度、节奏、意境内涵表现等方面进行分析,探讨其各自的风格特点、艺术特色,比较、研究不同时期最具代表性的五位演奏家的演奏版本,以获得对二胡曲《空山鸟语》的审美情趣、意境内涵、技法表现等更深层次的认知,探讨不同时期、不同的演奏家是如何在时代发展的流变中,在继承的基础上发挥其创造性作用的。
[Abstract]:The erhu song < empty mountain bird language > is one of the 10 erhu solos created by Mr. Liu Tianhua. The first draft was written in 1918 and was finalized in 1928. It is a freehand work depicting a hundred birds in the valley of the empty mountain. His brother, Mr. Liu Bannong, once described the wonderful mood of the music with the inscription of "no man, but the sound of bird language". In Mr. Liu Tianhua's 10 erhu works, "empty mountain bird language" has a very important position. It reflects that the Chinese literati are fond of the nature of the mountains and rivers, and melt the feelings between people and people in the scenery, the pursuit is in the scenery, the scenery is in the feeling, the more beautiful the feeling is, the deeper the scenery is, and the nature. The description is not a simple simulation, but the entry into the heart, and the image in the chest is different from the original form of nature, that is, "the teachers of the foreign teachers, the source of the heart '" (see Hu Zhiping: "the new literati music in the Hu Qin music - the aesthetic characteristics of Liu Tianhua erhu >," Huang Zhong >, the fourth period of 1992). This article mainly through to Liu Tianhua, The five performers of Chiang Feng, Zhang Shao, Min Huifen and Song Fei made an analysis of the pitch, the number, the speed, the rhythm and the connotation of the sound, which were played by the five performers of the "empty mountain bird language", and discussed their respective style and characteristics, artistic features and comparison, and studied the five most representative playing versions of the performers in different periods in order to obtain the erhu song < The aesthetic interest of the bird language in the empty mountain, the connotation of artistic conception and the expression of techniques, and so on, discuss how the different performers play their creative role on the basis of inheritance in different periods.
【学位授予单位】：武汉音乐学院
【学位级别】：硕士
【学位授予年份】：2009
【分类号】：J632.21

【引证文献】