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音乐的表达是由演奏者内心起伏变化流露出来的,然而肢体语言在感情音乐表达中的地位也不可忽视。在演奏中肢体语言不仅包括动态肢体语言,静态坐姿也是一种肢体语言。本文通过同音或同和弦的反复演奏、音阶的演奏、琶音的演奏、八度的演奏以及和弦的演奏五种技术与肢体的结合进行了分析,意在说明肢体语言在演奏中的应该注意的问题。肢体的表现也要根据作品风格而定,过分的肢体语言会破坏巴洛克时期音乐的神圣和典雅,拘谨的体态又表现不出浪漫主义时期音乐的抒情或奔放。肢体语言并没有固定模式,只是人们在表达音乐抒发感情流露出来的自然肢体动作。
The expression of music is revealed by the player’s inner undulation, however, the body language can not be ignored in the expression of emotional music. Body language in performance includes not only dynamic body language but also static body posture. In this paper, we analyze the combination of the homophonic or polyphonic repetition, scale performance, arpeggio performance, octave performance and chord playing with limbs, which is intended to illustrate the body language should pay attention to problem. Body performance should also be based on the style of work, excessive body language will destroy the sacred and elegant baroque music, cautious posture and no romantic expression of music lyrical or unrestrained. Body language does not have a fixed pattern, but people express their emotions expressed in the natural body movements.