论文部分内容阅读
20世纪中期以后,在承袭传统17簧笙的基础上,笙的改良取得了较快的发展。传统笙音域逐步扩展到21簧、24簧、26簧、28簧以及37簧,为了适应乐队排练需要,还将其改良为高、中、次中、低音抱笙和排笙等类型。乐器的改良,极大促进了笙乐器的表现力,各地涌现了一大批优秀的笙演奏家,代表这些演奏家所在地域风格的笙曲应运而生。笙曲《欢乐的泼水节》这部作品,由著名笙演奏家、教育家——沈阳音乐学院孙友先生创作完成。作品清新雅韵、旋律朗朗上口,在笙教学和表演中广为使用,普及程度比较高。笔者亦曾在初学阶段学习这首乐曲,后来又将此曲教授给了很多学生,在多年的教学实践中,逐渐对这首乐曲有了一定的认识,因此本文从乐曲地位、曲式结构、美学意义、演奏心得等几个方面作一下梳理,力求进一步丰富和提升乐曲在理论分析方面的层次。
After the middle of the 20th century, on the basis of inheriting the traditional 17 spring sheng, the improvement of Sheng achieved rapid development. The traditional Sheng area gradually expands to 21 springs, 24 springs, 26 springs, 28 springs and 37 springs. In order to adapt to the band rehearsal needs, it is also improved into high, medium and secondary bass and Sheng Pai. The improvement of musical instruments greatly promoted the expressiveness of Sheng musical instruments. A large number of outstanding Sheng performers emerged in various places, and the Sheng-sheng, representing the regional style of these performers, came into being. Sheng Qu, “Songkran Festival of joy,” this work by the famous Sheng performer, educator - Shenyang Conservatory of Music Mr. Sun You completed creation. The work is fresh and elegant, melodic catchy, widely used in Sheng teaching and performances, the popularity is relatively high. The author also studied this piece of music in the beginner stage, and later taught the song to many students. After years of teaching practice, he gradually got a certain understanding of the piece. Therefore, Aesthetic significance, playing experience and other aspects of combing, and strive to further enrich and enhance the level of theoretical analysis of music.