试论中国钢琴学派的萌芽

【作者】 李松兰；

【导师】 韩万斋；

【作者基本信息】 四川师范大学 ， 文艺学， 2004， 硕士

【摘要】 钢琴音乐艺术诞生于300年前的欧洲，19世纪末20年代初传入我国。自中国音乐家创作第一首钢琴曲开始，中国钢琴学派进入了萌芽期，西方钢琴艺术与具有5000年历史文化积淀的中华民族的传统音乐思想相融合，开始形成与西方钢琴音乐不同的特点。 本文旨在对中国钢琴学派萌芽期的理论研究、演奏、教学、创作四个方面从学科学派理论的角度，围绕中国钢琴音乐艺术这四个领域的发展历程、现状、特点进行了基本于学派理论基础之上的探讨，对学派初期形态中有机的内在联系进行了研究。 一、绪论，说明研究这一课题的理由即实际意义，综述国内的有关动态，提出论述的主要问题并进行概述。 二、论文的主体，分四个部分进行论述 1、概述中国钢琴学派的理论研究。以音乐学的学科理论构架观照中国钢琴学派的理论建设，得出结论——该领域的活动已广泛展开，但没有达到一定的深度和理论高度。 2、分析中国钢琴学派演奏活动中的探索创新现象，以及中国钢琴学派演奏风格、技巧所具有的学派初期特点，并探讨学派风格的成因及其发展趋向。 3、论述中国钢琴学派的教学活动在前期西式化的基础上所达到的高度，这为学派初期的中国化提供了前提。中国钢琴学派的教学活动已经进入带有中国传统教育观、审美观的自觉状态。 4、对中国钢琴学派创作领域的活动进行回顾，提出学派活动的思想主题—一钢琴音乐的中国化，并分析其根源。最后在具体的创作活动中分析出中国化的因素—中国传统音乐文化的对中国钢琴音乐创作的巨大影响。 三、结语由论文主体部分的分析，指出中国钢琴学派创作、演奏、教学、研究活动之间的紧密关系，将四个方面有机联系成内在的富有逻辑性的架构，形成对学派初期萌芽的勾画。更多还原

【Abstract】 The art of the piano began 300 years ago in Europe and entered into China in the 1920s. Through the development of hundreds of years, when this piano art of the west became melted with the traditional music thoughts of the Chinese who has a 5000 years’ accumulation in culture and history, the Chinese School of piano art began to emerge.This thesis is devoted to study theories, performance, teaching and composition of the budding period of the Chinese School in order to reveal the intrinsic organic relationship of this period from the disciplinary perspectives. It focuses on the development course, existing conditions and characteristics of the Chinese piano art, engaging in the depiction of the school and making clear its vague theoretic framework.I . Introduction: it presents reasons and practical significance of the thesis, current research about it home and abroad and the thesis statement.II. The body of the thesis1. It presents a general introduction of the theoretical research of the Chinese school. Viewing the theoretical construction of the Chinese piano school from the musicological perspective, it concludes that the activities in the field have been widely spread, yet they lack depth and theoretical height.2. It analyzes the new explorative and innovative phenomena in the performance of the Chinese piano school, the initial characteristics of its performance style and techniques and the formative reasons and development tendency of the style.3. It discusses the height the teaching of the Chinese school attained on the western basis in the initial period, which offered a foundation for the beginning nationalization of the school. The teaching activities of the school are in a consciousstate with traditional Chinese pedagogical methodology and aesthetics.4. It conducts a review of the activities in the field of composition of the Chinese piano art school and presents the activity guiding thoughts of the school: the nationalization of the piano music and the analysis of its courses. In the end it generalizes the national elements from specific composition activities: the impact of the Chinese traditional music culture on the composition of the Chinese piano music.III. Conclusion points out, as is discussed in the body of the essay, that there is close relationship among composition, performance, teaching and research activities of the Chinese school, links the four aspects into an organic logical whole and offers a description of the budding period of the school.更多还原