| 中国与韩国同是亚洲国度,同处于西方文明配景之下,在许多方面有着很多的配合的地方。但中韩两国分歧的汗青配景和文明传统等,在分歧阶段的汗青变迁中依然显示出了各自文明的无限魅力。20世纪,跟着东方音乐的传入,中韩两国作曲家开端较为周全、体系地进修东方作曲技巧实际,特殊在1950年后,欧洲古代音乐技法在两国逐步成长,作曲家们在创作上即运用欧洲古代技法,同时又赓续追求彰显各自平易近族性的创作途径。本文以中国和韩国的钢琴著作创作为研究头绪,从两国的钢琴著作创作的汗青配景动身,重点对1950年今后两国钢琴著作创作过程及创作手段分两个时代停止剖析和比拟。中韩两国作曲家在对各自传统音乐的继续和成长上都做出了异样的尽力,但因为汗青缘由,中国新音乐于20世纪80年月才开端成长,而韩国早在20世纪50年月就开端接触古代音乐,到了70年月新音乐进入了成长的繁华时代。本文第一章重要就处于分歧汗青配景之下,对中韩两国开国以来钢琴著作的创作过程停止比拟。第二章,因为两国的传统音乐存在着实质的分歧,作者经由过程对中、韩两国传统音乐的调式、旋律、节拍、音色等平易近族传统音乐作风特点停止剖析比拟后,提醒了两国作曲家在钢琴著作创作上是若何将东方古代音乐技法与各自平易近族传统技法奇妙联合,从而创作出丰硕多彩,各具特点的钢琴著作。在钢琴著作创作中,中韩两国固然都遭到了东方古代音乐的作用,但在自创的同时,都容身本国传统文明,看重用古代人的审雅观念创作钢琴著作,是两国作曲家的配合寻求。与此同时,在“西乐东渐”的进程中,两国作曲家也找到了彰显本身平易近族音乐特性的有用措施,在处理传统与古代、西方与东方、平易近族性与特性之间的关系上作出了伟大的进献。 Abstract: China and South Korea are the Asian countries, with the Western civilization under the background, in many areas have a lot of cooperation with the local. However, the differences between China and South Korea in the historical background and cultural traditions, in the different stages of the historical changes still show the infinite charm of their civilizations. In the 20th century, followed by the introduction of oriental music, Sino South Korean composer began a more comprehensive, system to study Oriental composition of practical skills, special in 1950 after, ancient music techniques in Europe has gradually grown in the two countries, composers in the creation of application techniques in ancient Europe, and ceaseless pursuit of highlighting their plain near family of creative ways. The piano music creation in China and South Korea as the research clue, starting from the historical background of the two piano works, focusing on 1950 in two piano works creation and creation means divided into two age analysis and comparison. China and South Korea composers in their traditional music to and growth have made a strange effort, but as a result of the historical reason, Chinese new music in the 20th century, 80 years began to grow, while South Korea early in the 20th century in the 1950s began to contact ancient music, to the 1970s new music into the growth of the prosperous time. The first chapter important is under the different historical background, to China and South Korea since the founding of the piano works of the creative process to carry on the comparison. The second chapter, because the essence of the difference exists in the traditional music of both countries, the author through the process mode of Chinese and Korean traditional music, melody, rhythm, timbre, and other plain near family traditional music style characteristic stop comparative analysis after reminded the two composers in piano works a as is how ancient oriental music techniques and their respective plain near family traditional techniques of wonderful joint, so as to create rich and colorful, distinctive piano works. In the creation of piano music, China and South Korea although have been the impact of ancient oriental music, but created at the same time, their traditional civilization shelter, see reuse ancient trial concept creation piano works is composer of the two countries cooperate to seek a. At the same time, Celebrex eastward "process, the two composers also found reveal itself plain near family music characteristics useful methods, on the relationship between the tradition and modern, Western and Eastern, plain by treatment was similar between ethnic and characteristics made a great contribution. 目录: 摘要 3-4 Abstract 4 引言 6-8 1 中韩钢琴著作创作历程 8-13 1.1 中国钢琴著作创作 8-10 1.1.1 中国钢琴著作创作（1949 年——1979 年） 8-9 1.1.2 中国钢琴著作创作的多元化发展（80 年代） 9-10 1.2 韩国钢琴著作创作 10-12 1.2.1 韩国钢琴著作创作（1945 年——1969 年） 10-11 1.2.2 韩国钢琴著作创作的多元化发展（70——80 年代） 11-12 1.3 结语 12-13 2 中韩钢琴音乐著作创作手法 13-46 2.1 中韩音乐的民族传统特征比较 13-20 2.1.1 调式、旋律 13-17 2.1.2 节奏 17-18 2.1.3 音色 18-20 2.2 中国钢琴著作创作中的民族传统与西洋音乐的结合 20-30 2.2.1 中国钢琴音乐的创作手法（1949 年——1979 年） 20-26 2.2.2 多元化时期的中国钢琴音乐创作手法（80 年代） 26-30 2.3 韩国钢琴著作创作中的民族传统与西洋音乐的结合 30-45 2.3.1 韩国钢琴音乐的创作手法（1945 年——1969 年） 31-36 2.3.2 多元化时期的韩国钢琴音乐创作手法（70——80 年代） 36-45 2.4 结语 45-46 结论 46-47 参考文献 47-49 攻读硕士学位期间发表学术论文情况 49-50 致谢 50 |
