| 通过钢琴打击乐化的处理拓展钢琴音色——以巴托克《第一钢琴协奏曲》第一乐章钢琴声部为例 |
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| 作者姓名： | 徐婷婷 |
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| 作者单位： | 浙江音乐学院音乐教育系,浙江杭州310024 |
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| 摘 要： | 贝拉·巴托克是将钢琴打击乐化处理发展到顶峰的代表性作曲家,他的《第一钢琴协奏曲》的曲式结构、主题(动机)、调式调性、和声、节奏等要素,是其音乐构成的技术特点,也是他对钢琴打击乐化处理的方法,以及这种处理方法在乐曲中扮演的角色。总结演奏者如何运用更为合理的演奏方法从而更加准确地诠释作品要点,具有启发意义。
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| 关 键 词： | 钢琴打击乐化 巴托克 多调性 演奏要点 |
On the Treatment of Making Piano into a Percussion Instrument: A Case Study on Bartok’s Piano Part of the First Movement of Piano Concerto No.1 |
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| Authors: | XU Ting-ting |
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| Institution: | (Musical Education Department,Zhejiang Conservatory of Music,Hangzhou 310024,China) |
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| Abstract: | Bella Bartok is a representative composer who develops the piano into a percussion instrument to the top. By analyzing the musical structure, theme(motivation), mode, harmony, rhythm and other elements of his Piano Concerto No.1, this paper aims to explore the technical characteristics of its musical composition, the composer’s method of making piano into a percussion instrument, and the role played by this method in the music. In this way, it is summarized in the paper how the performers use the reasonable performance method to interpret the key points of the works in a more accurate manner. |
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| Keywords: | making the piano into a percussion instrument Bartok polytonality key point of the performance |
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