| 摘要:（摘要内容经过系统自动伪原创处理以避免复制，下载原文正常，内容请直接查看目录。） 本文将中国和俄罗斯的手风琴高级专业教授教养现状作为研究内容，分离从手风琴教导史、手风琴教授教养论、手风琴制造工艺三个方面临中俄两国手风琴高级专业教导停止比拟，一方面懂得俄罗斯手风琴高级专业教导成长情形、存在的优势和新情势上面临的成绩，同时总结中国手风琴高级专业教导现状、所获得的成就和存在的缺乏，经由过程自创俄罗斯手风琴教导成长中的经历，指出乐器改革和本平易近族作风手风琴音乐著作创尴尬刁难往后中国手风琴艺术成长所起的主要感化。全文共分为三章：第一章从中俄教导系统及音乐教导的汗青配景和两国高级音乐教导手风琴专业的创立及其教授教养运动两个方面停止比拟，俄语毕业论文，提出手风琴室内乐的教授教养将成为中国手风琴成长的必定趋向。第二章从手风琴教授教养实际研究及教材编写、平易近族化手风琴著作的创作和音乐院校展开的国际外手风琴艺术交换运动三个方面深刻睁开，提出将平易近族元素运用进中国手风琴著作的需要性。第三章从两国运用乐器上的差别指出自在高音手风琴是中国手风琴与国际接轨的主要标记。 Abstract: This paper will Chinese and Russian senior professional accordion teaching present situation as the research content, from history, teaching the accordion accordion teaching theory, three aspects of the manufacturing process on Sino Russian accordion accordion senior professional teaching to carry on the comparison, Ross know Russian accordion teach senior professional growth, the existing advantages and new situation facing the results at the same time, summarize the China senior professional accordion teaching present situation, achievements and shortcomings, through the process of self taught Russian accordion experiences growing up, pointing out the reform of musical instruments and the ethnic style accordion music works set things back China mainly affect the growth of accordion art. The full text is divided into three chapters: first chapter from the Sino Russian teach teach music system and historical background and high-level music teaches professional accordion, creation and teaching movement to carry on the comparison, put forward the teaching of Accordion Chamber music will become the Chinese accordion development inevitable trend. The second chapter from the accordion teaching practice research and teaching materials preparation, plain near family of accordion music creation and music colleges and universities expansion of the right-hand side organ art exchange movement three deep open. It is proposed that plain near family elements into the Chinese accordion works of the need. The third chapter points out the difference between the two countries on the application of the instrument, the accordion is the main mark of China's accordion and international practice. 目录: 目录 3-5 摘要 5-6 ABSTRACT 6 前言 7-9 第一章 手风琴教育史之比较 9-20 第一节 中俄教育体系及音乐教育的历史背景 9-12 一、俄罗斯教育体系及音乐教育的概况 9-11 二、中国音乐教育的发展之路 11-12 第二节 高等音乐教育手风琴专业的创建及其教学活动 12-20 一、俄罗斯手风琴专业教育概况 12-15 二、中国手风琴专业教育概况 15-17 三、一种新的音乐形式—手风琴室内乐的教学 17-18 四、中国手风琴专业教育今后的发展趋势 18-20 第二章 手风琴教学论之比较 20-33 第一节 手风琴教学理论探讨及教材的编写 20-23 一、中国手风琴演奏艺术与教学理论的深层探讨 20-22 二、俄罗斯巴扬著作的编辑与整理 22-23 第二节 民族化手风琴著作的创作 23-28 一、中国手风琴音乐创作风格的多元化 23-26 二、俄罗斯手风琴音乐创作的发展历程 26-28 第三节 音乐院校开展的国内外手风琴艺术文流活动 28-33 一、二十年间中国高校手风琴艺术交流活动的开展 28-30 二、俄罗斯的手风琴艺术交流活动 30-33 第三章 手风琴制作工艺的改进 33-37 第一节 传统低音手风琴 33 第二节 自由低青手风琴 33-36 一、革新之处 33-34 二、分类 34-35 三、巴扬 35-36 第三节 我国自由低音手风琴的发展 36-37 结语 37-39 参考文献 39-42 后记 42 |
