中胡曲《草原上》與《贊歌》之研究
| dc.contributor | 林昱廷 | zh_TW |
| dc.contributor.author | 陳玉軒 | zh_TW |
| dc.date.accessioned | 2019-09-05T11:57:16Z | |
| dc.date.available | 2016-02-01 | |
| dc.date.available | 2019-09-05T11:57:16Z | |
| dc.date.issued | 2012 | |
| dc.description.abstract | 中胡原本為加強樂團中音聲部表現力所創製的樂器，主要用以擔任和聲伴奏的功用。劉明源1956年創作發表《草原上》，使中胡躍然成為一項獨奏樂器，自始之後也讓更多作曲家投入中胡作品的創作，其中包含多首蒙古族音樂風格的樂曲，劉明源《草原上》與盧小熙的《贊歌》亦然。如何運用中胡來表現蒙古族音樂的特色？又如何藉由相同風格的兩首作品來比較作曲家創作上的差異？成為筆者的研究動機。 本文以《草原上》與《贊歌》為研究主題，先從梳理蒙古族音樂歷史及其音樂藝術內涵，進而了解其在胡琴曲上的應用，並彙整兩位作曲家的音樂學習及創作歷程，探索其對音樂上的貢獻。另一方面，從曲式結構、節奏特點、旋律特徵、演奏詮釋方面來進行分析，與蒙古族音樂特色相互比照。 研究結果顯示，劉明源憑藉對蒙古族音樂的熟稔創作出《草原上》，盧小熙以器樂化觀點移植改編成《贊歌》，是兩首作品差異所在。而欲表現兩首作品中蒙古族音樂風格之特色，需將蒙古族音樂特有的節奏及旋律表現型態融會貫通，並充分掌握器樂之間借鑑的技巧轉化。最後更希冀以本文拋磚引玉，鼓勵日後研究者在中胡的理論建構上投注心力。 | zh_TW |
| dc.description.abstract | Zhonghu was originally developed for filling the harmony and enforcing the expressiveness of the middle-pitched part of Chinese orchestra. Since in 1956, Liu Ming-yuan’ composed “On The Grasslands” for zhonghu, zhunghu had been elevated it’s status to a solo instrument, and more and more composers composed for it in diverse styles, including the Mongolian style such like pieces On The Grasslands by Liu Ming-yuan and Song of Praise by Lu Xiao-xi discussed in the study. How to express traits of the Mongolian music by zhonghu? What’s the difference between two compositions in the same style? These had encouraged the author to start the study. The study took two pieces On The Grasslands and Song of Praise as subjects to comb the music history and content of the Mongolian firstly , and continuingly clarify the music experiences, composing processes and the contributions of these two composers. On the other hand, by practical analyses on the scores from aspects of musical form, traits of tempo and melody, and performing interpretations, theresearch made a comparison between the two pieces with the traits in Mongolian music to further probe into methods of applications. Both Liu Ming-yuan and Lu Xiao-xi composed for zhonghu, but one based on his long familiarity with Mongolian music and the other on the aspect of instrumental music. The result revealed that the key to perform music in Mongolian style is to grasp the unique tempo and rhythm thoroughly and also draw lessons from Mongolian instruments. Moreover, the study is expected to draw much attention to the future researches on the theories of zhonghu. | en_US |
| dc.description.sponsorship | 民族音樂研究所 | zh_TW |
| dc.identifier | GN0696910100 | |
| dc.identifier.uri | http://etds.lib.ntnu.edu.tw/cgi-bin/gs32/gsweb.cgi?o=dstdcdr&s=id=%22GN0696910100%22.&%22.id.& | |
| dc.identifier.uri | http://rportal.lib.ntnu.edu.tw:80/handle/20.500.12235/107089 | |
| dc.language | 中文 | |
| dc.subject | 中胡 | zh_TW |
| dc.subject | 草原上 | zh_TW |
| dc.subject | 贊歌 | zh_TW |
| dc.subject | 劉明源 | zh_TW |
| dc.subject | 盧小熙 | zh_TW |
| dc.subject | 蒙古族音樂 | zh_TW |
| dc.subject | zhonghu | en_US |
| dc.subject | On The Grasslands | en_US |
| dc.subject | Song of Praise | en_US |
| dc.subject | Liu Ming-yuan | en_US |
| dc.subject | Lu Xiao-xi | en_US |
| dc.subject | Mongolian music | en_US |
| dc.title | 中胡曲《草原上》與《贊歌》之研究 | zh_TW |
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