论马思聪小提琴作品中的“西琴中奏”.pdfVIP

摘要 20 世纪初，中国作曲家开始赴西方接受专业音乐训练，通过学习和借鉴西 方音乐，开启了近现代作曲之路。然而由于中西文化、语言、音乐传统的差异， 早期的专业音乐创作一直处在探索之中。于1923-1932 年期间两度赴法国留学的 马思聪归国后致力于在创作中融合近现代西方作曲技法，探索音乐创作的本民族 特色。根据马思聪的作曲特点，本文着重研究了他作品中为适应和拓展中国旋律 风格所遵循、运用并创新的西方作曲理论。在此理论基础上，本文探索了他作品 所表现的中国音乐文化元素，以进一步加深对他创作风格的理解，并研究如何在 实际演奏中更加准确地表现。 关键词：马思聪，西琴中奏，中国音乐，小提琴演奏 ii Abstract At the beginning of the 20th century, some Chinese composers began to learn from Western music and embarked on the path of modern professional composition. However, due to the differences of culture, language, and musical tradition between Chinese and Western, Chinese early composition was under exploration. From 1923 to 1932, Ma Sicong went to France twice to study. After returning to China, he devoted himself to the integration of modern western composing techniques in his composition and the exploration of the national characteristics of composition. According to the characteristics of Ma Sicongs composition, this paper focuses on the analysis of western composition theories such as harmony, counterpoint and musical structure, which are followed, used and innovated in his violin works to adapt to and expand the Chinese melody style. On this basis, this paper explores the elements of Chinese music culture expressed in his works, in order to further deepen the understanding of his compose style, and study how to express it more accurately in actual performance. Key Words: Ma Sicong, Western theory and Chinese practice, Chinese Culture, Violin performance iii 目录 摘要i 前言1 第一章 “西琴”：马思聪对西方作曲技法的运用和探索2 第一节 和声技法的应用和创新2 第二节 复调手法的应用4 第三节 马思聪小提琴作品的结构特点9 第二章 “中奏”：马思聪对中国传统音乐文化的表达13 第一节 民歌的使用13 第二节 文学意象的音乐化表现14 第三章 “西琴中奏”：