朱践耳《序曲二号“流水”》与陈培勋《音诗之二“流水”》分析比较与演奏浅析

发布时间：2018-05-06 20:11

本文选题：朱践耳《序曲二号“流水”》 + 陈培勋《音诗二号“流水”》　；参考：《四川师范大学》2016年硕士论文

【摘要】：钢琴作为西洋乐器传入中国不过百余年,伴随着经济的发展,钢琴的普及度越来越高,涌现出一批又一批钢琴爱好者,其中不乏一些优秀的钢琴家和作曲家,他们致力于钢琴音乐的民族化,将民族音乐元素与西方作曲技法相结合,创作出了很多具有中国特色的钢琴作品。朱践耳和陈培勋都是中国钢琴音乐创作中的代表人物,两位作曲家不约而同的选择了以“水”作为意象,都以民族音乐结合西方作曲技法创作出了不同表现力的同名作品《序曲二号“流水”》和《音诗二号“流水”》。本文对《序曲二号“流水”》和《音诗二号“流水”》的曲式结构、调式调性、和声特点和表现手法进行分析比较,并从两首作品的意境与旋律歌唱性、节奏与速度、触键及踏板等三方面对演奏技巧进行论述,力求能更好地表达出作者的意图。
[Abstract]:Piano, as a western musical instrument, was introduced into China for more than a hundred years. With the development of economy, the popularity of piano has become more and more high, and a number of piano lovers have emerged, among whom there are some outstanding pianists and composers. They devote themselves to the nationalization of piano music, combine the elements of national music with western composing techniques, and create many piano works with Chinese characteristics. Zhu Jianer and Chen Peixun are both representative figures in Chinese piano music creation. The two composers unanimously chose "water" as the image. In combination with western composing techniques, folk music has produced works of the same name with different expressive power, "flowing water" of prelude No. 2 and "flowing water" of "phonetic poem No. 2". This paper analyzes and compares the musical structure, the tonality, the harmony characteristics and the expressive techniques of the two works, and analyzes and compares them from the artistic conception and melody singing, rhythm and speed of the two works. In order to express the author's intention, touch key and pedal are discussed.
【学位授予单位】：四川师范大学
【学位级别】：硕士
【学位授予年份】：2016
【分类号】：J624.1

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