琵琶曲《三六》、《行街四合》樂曲分析與詮釋
dc.contributor | 賴秀綢 | zh_TW |
dc.contributor | Lai, Hsiu-Chou | en_US |
dc.contributor.author | 陳凱彤 | zh_TW |
dc.contributor.author | Chen, Kai-Tung | en_US |
dc.date.accessioned | 2019-09-05T11:54:37Z | |
dc.date.available | 不公開 | |
dc.date.available | 2019-09-05T11:54:37Z | |
dc.date.issued | 2018 | |
dc.description.abstract | 江南絲竹音樂歷史悠久,流行於江蘇、浙江及上海一帶,是極具有地區文化特色的樂種,樂曲風格典雅、旋律流暢,在演奏上存著一定的規範,演出場地多數在茶館與私人招待所,是社會大眾與文人雅士非常喜愛的樂種。 江南絲竹音樂風格特色為“小、輕、細、雅”,這四個字代表了江南絲竹的重要特徵,而說到江南絲竹音樂即令人想到著名的“八大曲”《三六》、《慢三六》、《雲慶》、《歡樂歌》、《行街》、《四合如意》、《慢六板》、《中花六板》。本文針對江南絲竹音樂八大曲中的兩首著名樂曲《三六》、《行街四合》所改編而成的琵琶獨奏樂曲進行探析,並以琵琶演奏手法詮釋之。 筆者將本論文架構分為五章:第一章為緒論,引述筆者撰寫本論文的研究動機與目的、研究方法與步驟、文獻探討以及研究價值與局限;第二章為江南絲竹音樂概述,闡述江南絲竹的歷史背景以及音樂特色;第三章為《三六》的結構分析與演奏分析,針對其樂曲的曲式結構以及演奏詮釋進行分析;第四章為《行街四合》的曲式結構以及演奏手法進行分析;第五章為結論,針對本文各章重點再次說明,統整內容闡述改編為琵琶獨奏曲的《三六》、《行街四合》在琵琶演奏上的特點。 關鍵字:琵琶、江南絲竹、三六、行街四合 | zh_TW |
dc.description.abstract | Jiangnan Sizhu (southern Chinese silk and bamboo music) is a typical folk music embodying regional and cultural characteristics, which was prevalent in Jiangsu, Zhejiang and Shanghai. With its elegant style, smooth melody, and fixed performance norms, it was one of the favorite music of publics as well as the literati performed on various occasions. Jiangnan Sizhu music features "small, light, fine, and elegant". The well-known eight masterpieces of Jiangnan Sizhu are: Plum-blossom in Three Movements, Adagio Three-Six, Yun Qing (Celebration of Better Life), Song of Joy, Strolling the Streets, All is Happening as Desired, Adagio Six Beat and Moderato Fancy Six Beat. This study is aimed to explore the two pieces of Plum-blossom in Three Movements and Combined Melodies for Wedding Procession from the aspect of performance techniques of Chinese lute. This study is divided into five chapters: Chapter 1 is the Introduction, in which the author illustrates the research motivation and purposes, methods and steps, literature review, and research value and limitations; Chapter 2 introduces the historical background and musical characteristics of Jiangnan Sizhu; Chapter 3 carries out an in-depth analysis of the structure as well as performance of Plum-blossom in Three Movements along with an detailed interpretation; Chapter 4 focuses on the exploration of Combined Melodies for Wedding Procession in terms of its musical structure and performance analysis; Chapter 5 is the Conclusion, in which the author summarizes the key points of this study and gives a summative descriptions for these two pieces. Key Words: Chinese lute; Jiangnan Sizhu; Plum-blossom in Three Movements; Combined Melodies for Wedding Procession | en_US |
dc.description.sponsorship | 民族音樂研究所 | zh_TW |
dc.identifier | G060391010M | |
dc.identifier.uri | http://etds.lib.ntnu.edu.tw/cgi-bin/gs32/gsweb.cgi?o=dstdcdr&s=id=%22G060391010M%22.&%22.id.& | |
dc.identifier.uri | http://rportal.lib.ntnu.edu.tw:80/handle/20.500.12235/107003 | |
dc.language | 中文 | |
dc.subject | 琵琶 | zh_TW |
dc.subject | 江南絲竹 | zh_TW |
dc.subject | 三六 | zh_TW |
dc.subject | 行街四合 | zh_TW |
dc.subject | Chinese lute | en_US |
dc.subject | Jiangnan Sizhu | en_US |
dc.subject | Plum-blossom in Three Movements | en_US |
dc.subject | Combined Melodies for Wedding Procession | en_US |
dc.title | 琵琶曲《三六》、《行街四合》樂曲分析與詮釋 | zh_TW |