| 在现今的手风琴音乐范畴中，有愈来愈多的人来研究法国风行手风琴音乐。理查德·加里亚诺，这位风行手风琴的领武士物，为风行音乐事业做出了严重的进献。他的音乐作风和吹奏特色一向是风行手风琴学者崇敬和模拟的对象，他将他的音乐作风如爵士、新探戈、新缪赛特和室内乐施展得极尽描摹。早年的室内乐只要靠吉他、袭击乐和弦乐来施展，现在手风琴亦可占重要位置。手风琴音乐，由古典到风行、由严谨、庄重的作风到浪漫、幽美的旋律，这几十年产生了严重的改变。现在的法国风行手风琴音乐属于一种新元素音乐，同时也属于一种浪漫、幽美的平易近族音乐，它有着浓烈的、带有人文、地舆、汗青融为一体的法兰西风情音乐的诸多元素。本文力争经由过程三个章节来评论辩论加里亚诺的音乐作风和吹奏特色：第一章：引见加里亚诺的生平简介和他的著作，并经由过程他的著作来引出他的音乐作风和吹奏特色，皮亚佐拉对加里亚诺的作风和特色的伟大作用。第二章：逐个详细剖析他的音乐作风和吹奏特色。他的音乐作风有爵士、探戈、缪赛特、室内乐等。如爵士，就详细剖析爵士的音乐和节拍、音色等变更。随后研究爵士和手风琴是若何融会在一路，可以经由过程哪些音乐感触感染、变音器转换和力度变更来归纳爵士乐。随后对几首乐曲停止的简略剖析，并经由过程节拍、节奏、力度变更、曲式构造等来探寻加里亚诺的的舞台感和风行手风琴的表示情势。第三章：经由过程加里亚诺的访谈来评论辩论他对风行手风琴音乐的感触感染和吹奏的经历。经由过程第二章的详细剖析，法语论文，可见加里亚诺对风行手风琴事业的伟大进献。阐述胜利的手风琴吹奏家和出色的著作是若何在手风琴傍边表示出来的。笔者力争经由过程对现今这位巨大的手风琴艺术家的作风特色停止阐述，来剖析出法国风行手风琴的音乐的优良的地方。同时也愿望更多的中国手风琴艺术家和学者研究加里亚诺的作风特色，法语论文，使中国的风行手风琴音乐有更年夜的逾越。 Abstract: Nowadays, there are more and more people come to study French popular accordion music in the category of accordion music. Richard Galliano, who brought the warrior popular accordion, made contribution for the serious pop music career. His music style and playing characteristics has always been popular accordion scholars reverence and simulation object, he will be his style of music such as jazz, tango, Miao Dorset and chamber music in the display incisively and vividly. Early on, as long as the chamber music guitar music and strings to cast attack, now also occupied an important position. Accordion music, from classical to popular, the rigorous, to the solemn style, romantic, beautiful melody, the decades produced serious changes. Now the French popular accordion music belongs to one of the elements of music, and it also belongs to a kind of romantic, beautiful plain near family music. It has many of the elements of the strong humanities, geography, history as a whole, with French style music. This paper seeks to review debate Galliano's music style and playing characteristics through three chapters: Chapter 1: introduction Galliano's biography and his works, and through his work leads to his musical style and playing characteristics, Piazzolla of Jharia Connaught style and characteristics of the great influence. The second chapter: one by one detailed analysis of his music style and playing characteristics. His music style of jazz, tango, bagpipe, chamber music, etc.. Such as jazz, detailed analysis of the jazz music and rhythm, sound and other changes. Subsequent studies jazz and accordion is if Herong will in a way can be felt through which music infection, umlaut is conversion and intensity change to summarize the jazz. Then to stop several pieces of music and a brief analysis, and through the process of rhythm, rhythm, dynamics change, musical structure etc. to of Galliano's stage and the popularity of the accordion representation of the situation. Chapter three: through the interview process Galliano to comment on the debate of his popular accordion music feeling and playing experience. Through the detailed analysis of the second chapter, it can be seen that Galliano's great contribution to the cause of the popular accordion. This accordion playing home victory and outstanding work is how to express the accordion. The author is trying to through to today the great accordion artists style characteristic carries on the elaboration, to analyze the French popular accordion music excellent place. And also desire more Chinese accordion artist and scholar to study the Galliano style characteristics, the Chinese pop accordion music has more of the eve of Passover. 目录: 论文摘要 3-4 Abstract 4 引言 6-7 第一章 法国手风琴大师加里亚诺 7-14 第一节 理查德·加里亚诺的生平简介 7-8 第二节 理查德·加里亚诺的著作 8-14 一、 列举部分加里亚诺的著作和他在音乐会中的手风琴演奏 8 二、 简介理查德·加里亚诺的音乐风格及其演奏特点 8-10 三、 加里亚诺的创作特点 10-11 四、 皮亚佐拉对加里亚诺手风琴音乐的巨大作用 11-12 五、 法国手风琴音乐的发展 12-14 第二章 具体介绍理查德·加里亚诺的音乐演奏风格和演奏特点 14-27 第一节 加里亚诺的手风琴爵士乐的风格特点 14-17 一、 爵士乐的发展历程及特点 14-15 二、 手风琴与爵士乐的融合 15-17 第二节 加里亚诺的手风琴探戈乐的风格特点 17-20 一、 探戈乐的发展历程 17-18 二、 手风琴与探戈乐的融合 18-20 第三节 加里亚诺的手风琴缪塞塔的风格特点 20-22 一、 缪塞特的发展历程及特点 20-21 二、 手风琴与缪塞特的融合 21-22 第四节 加里亚诺的手风琴室内乐的风格特点 22-27 一、 室内乐的发展历程及特点 22-23 二、 手风琴与室内乐的融合 23-24 三、 手风琴古典奏法——巴赫（Bach） 24-27 第三章 理查德·加里亚诺的手风琴音乐对世界手风琴艺术发展的作用 27-30 第一节 加里亚诺对手风琴音乐的看法 27-28 第二节 加里亚诺的手风琴音乐进一步发展了法国手风琴音乐和对世界手风琴发展的作用 28-30 结语 30-31 参考文献 31-33 致谢 33 |
